S Class Signal Processors

GAIN REDUCTION dB 2 1

INPUT / OUTPUT LEVEL dB -30 -24 -18 -12 -6 -+3 +6 +9 +12 +18

EXPANDER/GATE

TRIGGER

COMPRESSOR / LIMITER

THRESHOLD

-10 10

RELEASE

STEREO LINK

ATTACK

OUTPUT

ENHANCER

STEREO COMPRESSOR

GATE 50 0

KEY LISTEN 15

IN/OUT 1 200.-10 +7 IN/OUT 0

GATE -30

OFF +10 dB RELEASE

-40 +20 dB SPECTRA

1 dB KEY

.05 Sec AUTO

-20 +20 dB I/O METER
STEREO COMPRESSOR / LIMITER

Safety Instructions

Caution: To reduce the hazard of electrical shock, do not remove cover or back. No user serviceable parts inside. Please refer all servicing to qualified personnel.

CAUTION

FOR CONTINUED PROTECTION AGAINST RISK OF FIRE, REPLACE ONLY WITH SAME TYPE FUSE

ATTENTION

UTILISER UN FUSIBLE DE RECHANGE DE MME TYPE

WARNING

DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
RISQUE DE CHOC ELECTRONIQUE NE PAS OUVRIR
RISK OF ELECTRIC SHOCK DO NOT OPEN
WARNING: To reduce the risk of fire or electric shock, do not expose this unit to rain or moisture.
The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. Important Safety Instructions 1. 2. 3. 4. 5. 6. 7. 8. 9. Please read all instructions before operating the unit. Keep these instructions for future reference. Please heed all safety warnings. Follow manufacturers instructions. Do not use this unit near water or moisture. Clean only with a damp cloth. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or third prong is provided for your safety. When the provided plug does not fit your outlet, consult an electrician for replacement of the obsolete outlet. Protect the power cord from being walked on and pinched particularly at plugs, convenience receptacles and at the point at which they exit from the unit. Unplug this unit during lightning storms or when unused for long periods of time. Refer all servicing to qualified personnel. Servicing is required when the unit has been damaged in any way, such as power supply cord or plug damage, or if liquid has been spilled or objects have fallen into the unit, the unit has been exposed to rain or moisture, does not operate normally, or has been dropped.

10. 11. 12.

Table of Contents
Table des matires ENGLISH Forward by Ray Kennedy Introduction Scom plus Features Controls and Functions Front Panel Layout Rear Panel Layout Operating the Scom plus Setting Up the Scom Plus Compressing A Signal Gating A Signal Using The Expander Using the Enhancer Using the De-esser Setting Up the Peak Limiter Dynamics Processing 101 Applications System Set-ups Scom plus Connections Specifications Block Diagram 5 6-7 6-11-12 13-14 15-60-Inhalt DEUTSCHE Vorwort von Ray Kennedy Scom plus Features Regler und Funktionen Vorderseite Rckseite Bedienung des Scom plus Scom plus einrichten Signal komprimieren Signal gaten Expander einsetzen Enhancer einsetzen De-esser einsetzen Peak Limiter einrichten Dynamikbearbeitung 101 Anwendungen System-Einrichtungsbeispiele Scom plus Anschlsse Technische Daten 34-35 34-39-40 41-42 43-60-61 Contenido
FRANAIS Note de Ray Kennedy Caractristiques du Scom Plus Rglages et fonctions Face avant Face arrire Utilisation du Scom Plus Configuration du Scom Plus Compression dun signal Utilisation du Noise Gate Utilisation de lexpanseur Utilisation de lEnhancer Utilisation du d-esseur Utilisation du limiteur de crtes Notes lmentaires sur les processeurs de dynamique Applications Configurations du systme Connexions du Scom Plus Caractristiques techniques 20-21 20-25-26 27-28 29-60-61
ESPAOL Prlogo de Ray Kennedy Caractersticas y funciones de Scom plus Controles y funciones Distribucin del panel frontal Distribucin del panel posterior Utilizar el Scom plus Preparar el Scom Plus Comprimir una seal Aplicar una compuerta a una seal Utilizar el Expander Utilizar el Enhancer Utilizar el De-esser Utilizar el Limiter Procesamiento de dinmica 101 Aplicaciones Instalaciones del sistema Conexiones de Scom plus Especificaciones 48-49 48-53-54 55-56 57-60-61

Copyright 2001, Samson Technologies Corp. Printed April, 2001 Samson Technologies Corp. 575 Underhill Blvd. P.O. Box 9031 Syosset, NY 11791-9031 Phone: 1-800-3-SAMSON (1-800-372-6766) Fax: 516-364-3888 www.samsontech.com

Forward By Ray Kennedy

The use of compressors and limiters in recording and mixing are some of the most important tools available and much more useful than many realize. To me, compression is much more of a sound than a dynamics control device. Each model has its own sound and ideal application which is why I have about forty units to choose from. Learning which type of unit and what settings to use takes a lot of trial and experimentation but eventually youll find the best applications. Peak limiting and soft compression are basically good for maximizing levels to tape or disk without a lot of coloration. Essentially knocking the peaks down and bringing the quieter portions of a sound up louder by narrowing the dynamic range. Slow attack and fast release times allow for more transparent sound. I personally like the sound of compression and use it at times to extremes. Depending on the type of unit and the settings, so many tonal characters can be achieved from thickening, adding ambience, toughening, softening, equalizing and much more. My favorite 'manic compression"' trick is to make vocals feel suspended in the mix, dry and intimate, as if the singer is right there in your face but not too loud. My partner Steve Earle says the amount of compression we use on the vocals on his records lets people know what he had for breakfast. In many ways, it becomes a replacement for reverb and used in extreme, it pulls in all the ambience around a vocal mic as well as digging out character from down in your vocal cords. On an overhead or room mic, you can actually change the perceived size of the room by making it suck in the decaying sound as it travels away. Again slow attack and fast release times will bring the best results because you can hit the threshold much harder. Stereo bus limiting and compression is also a very good method for actually gluing tracks together and making bands sound tighter than they really are. It also allows for more saturation to analog two track as well as fuller modulation to digital formats. For me, it is not unusual to hit three stereo limiters before getting to the hard disk in mastering, which the final parts will be cut from. Quite often running a signal through several compressors will allow some interesting results which cannot be achieved with one unit. There certainly are no rules but it is important to know that there are many different designs in squashing sound. Some are entirely tube, some tube and optical, just optical, FET transistors, VCA's (voltage control amplifiers) Pure Class A, Class A/B, Digital, as well as other combinations. Now, we have finally arrived in an age of very high quality VCA's which are not too expensive and are allowing for very sophisticated and versatile designs, as are the S-Class units from Samson. Ray Kennedy

ENGLISH

Ray Kennedy is a Nashville based Producer, Engineer and Songwriter whose production company Twang Trust, a partnership between Ray and singer songwriter Steve Earle, has been credited with well known artist recordings and performances including Steve Earle, Art Garfunkel, Willie and Waylon, Farm Aid, The Del McCoury Band, Nancy Griffith, Lucinda Williams, David Alan Coe, Shaver, V-Roys, and Rosie Flores.

Introduction

Thank you for purchasing the Samson Scom plus dynamics processor. The Samson Scom plus is a one-space dual channel dynamics processor optimized for recording, live sound reinforcement systems, DJ set-ups and commercial installations. The Scom plus is a complete dynamics processing solution offering two channels of full function Compressor, Expander/Gate, Limiter and De-Esser. Scom plus convenient meters provide instant status of important gain management settings. In these pages, youll find a detailed description of the features of the Scom plus dynamics processor, as well a description of its front and rear panels, step-by-step instructions for its setup and use, and full specifications. Youll also find a warranty card enclosedplease dont forget to fill it out and mail it in so that you can receive online technical support and so we can send you updated information about these and other Samson products in the future. With proper care and adequate air circulation, your Scom plus will operate trouble free for many years. We recommend you record your serial number in the space provided below for future reference. Serial number: Date of purchase:
Should your unit ever require servicing, a Return Authorization number (RA) must be obtained before shipping your unit to Samson. Without this number, the unit will not be accepted. Please call Samson at 1-800-3SAMSON (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 the original carton and packing materials.

Scom plus Features

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB -30 -24 -18 -12 -6 -+3 +6 +9 +12 +18 DE-ESSER LEVEL dB 0 -3 -6 -9 -12 LIMIT GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB -30 -24 -18 -12 -6 -+3 +6 +9 +12 +18 DE-ESSER LEVEL dB 0 -3 -6 -9 -12 LIMIT

DE-ESSER

LIMITER
STEREO COMPRESSOR LIMITER
GATE -30 +200.-10 +7 +5 16

8 MAINS POWER SWITCH - When turned on, activates the Scom plus. 9 RACK EARS - Used for mounting into a 19-inch standard rack. 10 TRIGGER- Controls the threshold level that the Expander/Gate becomes active. 11 GATE SWITCH - Selects either Gate or Expander mode. 12 RELEASE SWITCH - Selects FAST or SLOW Release Time for EXPANDER/GATE. 13 THRESHOLD - Used to set the minimum signal level at which the Compressor circuit begins to function. 14 ENHANCE - Activates S com plus Enhanced Spectrum Recovery circuit restoring the high end loss resulting from extreme Gain Reduction. 15 RATIO - Controls the amount Gain Reduction in proportion to the amount of signal over the selected threshold level.

D E F G H

CHANNEL 2
KEY INPUT OUTPUT BALANCED OUTPUT

BALANCED INPUT

A AC INLET - IEC standard AC Power cable Connector. B CHANNEL 2 XLR INPUT - XLR Balanced line input. C CHANNEL 2 1/4 TRS INPUT - 1/4 TRS Balanced line input.
D OPERATING LEVEL SWITCH - Switches the operating level from -10dB to +4dB. E CHANNEL 2 KEY INPUT - Input connection allowing external control of the Scom plus Compressor detection circuit. F CHANNEL 1 KEY OUTPUT - S com plus detector circuit is sent here. Use the Key Output to process the compressors detector through an external effect like an equalizer.
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB -30 -24 -18 -12 -6 -+3 +6 +9 +12 +18 DE-ESSER LEVEL dB 0 -3 -6 -9 -12 LIMIT

2 OFF +10 dB 0

-40 +20 dB RELEASE ENHANCER
16 KEY SWITCH - Selects the key input so that an external signal may trigger the compressor. 17 ATTACK - Adjusts the amount of time the compressor takes to reach full gain reduction. 18 AUTO - Activates S com plus AEG (Auto Envelope Generator) which dynamically adjusts the attack and release time based on signal content. 19 RELEASE - Adjusts the length of time the compressor takes to return the signal to its original level. 20 INPUT/ OUTPUT METER SELECT SWITCH Selects either Input or Output level to be displayed on the Input/Output Meter. 21 LEVEL - Controls the amount of Output level. 22 DE-ESSER LEVEL - Displays light indicating when Limiter circuit is engaged.

23 DE-ESSER IN/OUT Switch - Activates DEESSER circuit. 24 Limiter - Sets the level at which LIMITING begins. 25 CHANNEL 1 IN/OUT - Activates Scom plus Channel 1. 26 CHANNEL 2 IN/OUT - Activates Scom plus Channel 2.

CHANNEL 1

NCED TPUT
G CHANNEL 2 XLR OUTPUT - XLR Balanced line output. H CHANNEL 2 1/4 TRS OUTPUT - 1/4 TRS Balanced line output.
CHANNEL 1 - Same inputs and outputs as Channel 1.

Operating The Scom plus

Whether you are an experienced audio engineer, just starting out, or you just want to experiment, follow the steps below to get going. Further sections in this manual will cover basic dynamics and the associated parameters, system set-ups and applications for using dynamics processing in recording and live sound applications.

SETTING UP THE Scom plus

Connect one or both sets of inputs and outputs to the designated connectors on the rear panel. Set the controls to the following positions:

IN/OUT 1

IN/OUT 2 OFF +10 dB RELEASE -40 +20 dB ENHANCER 1 dB KEY.3 300.05 Sec AUTO I/O METER 5 -20 +20 dB 0 dB IN/OUT OFF dB
EXPANDER/GATE TRIGGER OFF GATE SWITCH OUT FAST RELEASE OUT COMPRESSOR THRESHOLD +20dBu (fully clockwise) ENHANCER - OUT RATIO 1:1 KEY SWITCH - OUT ATTACK 0.3 (fully counter-clockwise) AUTO SWITCH- OUT
RELEASE - 5 (fully clockwise) METER SWITCH IN OUTPUT LEVEL O dBu DE-ESSER 0 (fully counter-clockwise) DE-ESSER SWITCH OUT LIMITER OFF (fully clockwise) STEREO LINK SWITCH OUT CHANNEL 1 ENGAGE OUT
In this configuration, the Scom plus is simply passing audio at unity gain with no dynamics processing. It is a good idea to check your gain structure at this point. Use the Input/Output meter to match the level. Send a signal to either or both of the Scom plus inputs and outputs. Press the METER switch to see that the input and output levels are matched.

COMPRESSING A SIGNAL

Scom plus' Compressor section can be used for a variety of gain management tasks including printing signals to a multi-track recorder, as a mix-down effect, mastering, and for increasing the loudness of a live PA system. To begin compressing your signal, follow the steps below: Follow the section above, SETTING UP THE Scom plus for normalizing the controls. Press the CHANNEL IN switch (located in the middle of the unit) to the IN position. Press in the AUTO switch (located in-between ATTACK and RELEASE). Adjust the Ratio to 2:1.
Now gradually turn down the THRESHOLD level and listen for the compression. For a visual representation, the amount of compression is indicated on the GAIN REDUCTION meter. Press out the AUTO button to experiment with manually controlled ATTACK and RELEASE times.

0 GAIN REDUCTION dB -3

ER/GATE

R THRESHOLD

GATE 0 -30 +6 15

GATING A SIGNAL

Unwanted noises, buzzes and hisses can be easily removed by using Scom plus GATE. The idea is to have the Gate open only when your desired signal is playing and to mute off (Gate closed) the unwanted noise, buzz and hiss. To Gate your signal, do the following: Follow the section above, SETTING UP THE Scom plus for normalizing the controls. To engage the Gate, make sure that the EXPANDER/GATE switch is pressed in. Press the RELEASE switch to the IN position to select FAST release time. Now increase the THRESHOLD level and listen as the signal begins to gate. For a visual representation of the gate opening and closing, look at the GATE OPEN/CLOSED LEDs located above the EXPANDER/GATE TRIGGER control.

20 G 24 2

THRESH

-40 +2 dB

USING THE DOWNWARD EXPANDER
You can set the Scom plus' Gate section to work as a DOWNWARD EXPANDER to lower the volume of a signal. Try the simple steps below: Follow the section above, SETTING UP THE Scom plus for normalizing the controls. To engage the EXPANDER, make sure that the EXPANDER/GATE button is switched to the OUT position. Press the RELEASE switch out to select a SLOW RELEASE. Now increase the TRIGGER level and listen as the signal begins to get softer.

USING THE ENHANCER

The Scom plus ENHANCER switch can be engaged to activate the EFR (Enhanced Frequency Recovery) circuit. By engaging the ENHANCER, the Scom plus EFR restores the high frequency content that can be lost when high gain reduction is applied. The Scom plus EFR achieves this by adding back the high-end of the original signal in an amount that is equal to the amount of gain reduction. Follow the section above, SETTING UP THE Scom plus for normalizing the controls and run a signal such as a CD through the Scom plus. Press the CHANNEL IN switch (located in the middle of the unit) to the IN position.

GATE GAIN REDUCTION dB 2

Press in the AUTO switch (located in-between ATTACK and RELEASE). Adjust the Ratio to 6 - 8:1. Switch on the ENHANCER and listen to how the high end is restored when the ENHANCER is on.

USING THE DE-ESSER

The Scom plus De-Esser is a powerful tool for removing annoying problems like heavily sibilant vocal tracks or bright cymbals. To listen to the De-Esser try the following: Follow the section above, SETTING UP THE Scom plus for normalizing the controls. To engage the De-ESSER, make sure that the DEESSER switch is pressed in. Now increase the De-ESSER level and listen as the high frequency component of the signal begins get softer. You will see the amount of high frequency gain reduction displayed in the De-ESSER level meter.
-20 +20 dB B +9 +12 +18 DE-ESSER LEVEL dB 0 -3 -6 -9 -12 LIMIT

Note: For Detailed De-Essing - Since the Compressor and DE-ESSER share the same ATTACK and RELEASE settings you may consider using one of the Scom plus channels exclusively for DE-ESSING. Experiment with fast ATTACK and RELEASE times when using the channel for DE-ESSING only.

USING THE PEAK LIMITER

The Peak Limiter on Scom plus can be used in recording to insure that the output levels do not exceed a certain level and in PA applications, for speaker protection. To audition Scom plus PEAK LIMITER try the following. Follow the section above, SETTING UP THE Scom plus for normalizing the controls. To engage the PEAK LIMITER, adjust the LIMITER threshold control knob to the maximum output level desired. The LIMIT LED above the LIMITER threshold control knob indicates when the limiter circuit is kicking in. If the LED does not light, you have not reached the maximum level.
0 dB IN/OUT 10 E-ESSER LEVEL dB 0 -3 -6 -9 -12 LIMIT

IN/OUT +IN/OUT OFF dB 5

Dynamics Processing 101
To begin to understand dynamics processing, we must first understand what dynamics are. Dynamics, or the dynamic range of a signal or audio device, is the amount of level between the softest and loudest possible output. Dynamics processing is applied to a signal to manage the changes in level. Various types of processing units are available to control dynamics including Noise Gates, Expanders, Compressors, Limiters and De-Essers. All of these processes have a unique effect on a signal, but one common element they share is that in one way or another they control gain. Some dynamics processors control gain in a subtle way by slightly reducing how soft and loud a signal is, while others make drastic changes in gain like reducing the signal until its off. Applications for dynamics processing can be categorized by two distinct groups; first, to treat a signal that has an unpredictable dynamic range and make it predictable, and second, to create a "sound" by squeezing out the dynamic range. Whether used for a live sound application, recording, mixing or mastering, dynamic processors like the Scom plus are valuable tools for controlling gain. The following is a basic overview of dynamics processing and how it is used to improve the quality of recorded and live sound.

COMPRESSOR

A good compressor is one of the most useful tools in live sound and recording. Compressors are used to control the dynamic range of a signal, which offers a variety of benefits including leveling a signal thats being recorded, having an instrument sit in the mix, and increasing the loudness of a sound system to name a few. Drastic amounts of compression will also result in an effect that becomes more of a sound, than just controlling gain. To understand how a compressor works, it is necessary to become familiar with the basic parameters which include threshold, ratio, attack time, and release time.

Gating Drums

Using noise gates on drums is particularly useful in recording and in live sound. When a drum kit is set up with individual microphones on each drum in a live PA system, theres potential for great sound. However, there are several gain management problems that can occur. Several microphones like the ones on the tom-toms, will only be used occasionally and until the time that the tom-tom is actually played, its microphone is merely picking up unwanted sound from other instruments on stage. This adds a lot of unwanted mush in the mix and also adds to feedback problems. Use the Scom plus to gate the signal of the tom-tom by selecting Gate with the Expander/Gate switch. Now adjust the Trigger control so that the gate opens only when the tom-tom is played, and at the same time, so that the gate is closed even when the adjacent tom-tom is played. This same technique is useful on drums that have been recorded on individual tracks. By using the Gate to mute the bleed of the other drums, you can effectively reduce the comb filtering produced by phase cancellation due to microphone proximity.

Gating Longer Sounds

When using a noise-gate on sound with a longer decay like piano, it is usually necessary to use a longer release time. Run the piano signal through the Scom plus and set the Expander/Gate Release switch to Slow. Adjust the Trigger level on sustained passages to get the best results. Be sure to listen for the natural decay of the instrument and allow the gate to remain open until just after end of the decay.

Leveling a Vocal Track

When recording a vocal track, the vocalist may change the distance between them and the microphone, or they may naturally have a lot of dynamic range in their performance. In either case, the sound engineer must decide how much compression should be used to balance the natural performance and printing a good level to tape or disk. Set up the Scom plus with a medium attack and release time and a ratio of 4:1. You can also use the Auto button to engage the AEG (Auto Envelope Generator) for automatic attack and release. Now adjust the Threshold level so that the Gain Reduction meters show 6 to 10 dB of gain reduction. Adjust the Ratio control if necessary.
Leveling a Guitar or Bass
Guitar and especially bass guitar can have a lot of level change between strings and even frets on the fingerboard. Using compression when recording guitars and bass will even out these differences. Set up the compressor section of the Scom plus with a medium attack and release time and a ratio of 4:1. You can also use the Auto button to engage the AEG (Auto Envelope Generator) for automatic attack and release. Now adjust the Threshold level so that the Gain Reduction meters show 10 to 12 dB of gain reduction. Youll notice that the each note is at the same loudness and the overall sustain is increased.

Compressing Drums

Adding compression on drums can make a boomy kick drum tighten up, almost as if you were tightening the head of a drum. Set the Scom plus to a fairly quick attack time and use a ratio of 6:1. Set the Threshold so that the Gain Reduction meter reads 12 to 15 dB. Adjust the Ratio control if necessary. You can use the same basic set up on snare and toms as well.
Getting a Track to Sit in the Mix
By using a heavy amount of compression you can get the effect of the vocal suspending in the mix. While this may be a bit radical for some, the effect can be dramatic especially if the vocal is mixed without any reverb or delay. Set up the compressor section of the Scom plus with a medium attack and release time and a ratio of 6:1. You can also use the Auto button to engage the AEG (Auto Envelope Generator) for automatic attack and release. Now adjust the Threshold level to so that the Gain Reduction meters show 21 to 24 dB of gain reduction.

Speaker Protection

There are several ways to use a compressor to protect a speaker system and many considerations can be made including whether the speaker system is crossed over actively or passively. If the speaker system is stereo using a passive crossover, then the line output of the mixer or equalizer is run directly into the Scom plus inputs. The Scom plus should be last in the chain before the power amps with its outputs feeding the inputs of the amp. Now set the Scom plus to Stereo Link mode and use the Auto button to engage the AEG (Auto Envelope Generator) for automatic attack and release. Adjust the Threshold and Ratio so that the systems entire dynamic range is under control. Set the Limiter control to +12 and gradually adjust it until it is 1 to 2dB below the clip level of your power amps. When using an active crossover, multiple compressors can be used to compress each section of the PA. For example, if the PA is using an active crossover to run a four-way mono system, two Scom plus can be used for four band compression. By compressing each output of the crossover, you can maximize the output level while minimizing the gain to sensitive speakers like the mid-range. Run the low and low-mid frequencies into two channels of the first Scom plus and the high-mid and high frequencies into channel one and two of the second Scom plus.

Scom plus System Set-Ups

LIVE SOUND SYSTEM WITH STEREO COMPRESSION

PL1602 Mixer

PL CHANNEL LINE MIXER
SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A.
INPUTS BALANCED 10K -30 to +4db TIP + RING - SLEEVE GND.

Left High / Mid

ON OFF 16R 15L 14R 13L 12R 11L 10R 9L 8R 7L 6R 5L 4R 3L 2R 1L

0 +4 TRIM -40 3

RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE -0 +4 -40 TRIM
Servo 550 Power Amp (High)
SERVO 550 STUDIO AMPLIFIER
SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK
~115V(0.3A) 230V(0.15A) 50/60Hz 30W
MAIN OUT BUS INSERTS BALANCED 600 +4db TIP + RING - SLEEVE GND MIXER LINKING
AUX RETURNS UNBALANCED 10K
AUX SEND UNBALANCED 2K +4db
INSERTS TIP RETURN RING SEND

FUSE FUSE RATING

12A/250V (115V) 6A/250V (230V)
USE CLASS 2 WIRING MAXIMUM LOAD IMPEDANCE 4
HEATSINK MAY BE HOT! DO NOT BLOCK AIRFLOW OR OVERHEATING MAY OCCUR TO PREVENT SHOCK DO NOT OPEN. NO USER SERVICABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. TO PREVENT FIRE OR SHOCK HAZARD DO NOT EXPOSE TO RAIN RIGHT

SCom Plus

RISK OF ELECTRIC SHOCK DO NOT OPEN.

CHANNEL 2 KEY

BALANCED OUTPUT
XLR PIN 1 GND PIN 2 HOT PIN 3 NEG

CHANNEL 1 KEY

SERIAL NUMBER

S com Plus

PHONE TIP - POS RING - NEG SLEEVE - GND

MADE IN CHINA

_ mA SLOW BLOW FUSE FOR 115V _ mA SLOW BLOW FUSE FOR 220V

E30 Dual 15 Band EQ

E30 2/3 OCTAVE STEREO 15 BAND GRAPHIC EQUALIZER
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE
BALANCED <100 0db UNITY GAIN

OUTPUTS

BALANCED <100K 0db UNITY GAIN
BALANCED <100 0db UNITY GAIN BALANCED <100K 0db UNITY GAIN

BALANCED 0db UNITY GAIN

INPUTS

BALANCED 10K

BALANCED 0db UNITY GAIN BALANCED 10K

~AC INPUT

THIS EQUIPMENT TO RAIN OR MOISTURE.

POWER RATING

120V - 60 Hz 20W

115V/230V 50/60Hz13W

CHANNEL B

CHANNEL A

S1500 Power Amp (Mid) S3 Way
CH 2 HIGH OUTPUT CH 2 LOW OUTPUT CH 2 INPUT CH 1 HIGH OUTPUT CH 1 LOW OUTPUT CHANNEL MODE 1 INPUT STEREO 2 WAY

CH 2 HIGH OUTPUT

CH 2 MID OUTPUT

CH 2 LOW OUTPUT

CH 2 INPUT

CH 1 HIGH OUTPUT

CH 1 MID OUTPUT

CH 1 LOW OUTPUT

CHANNEL STEREO 1 INPUT 3 WAY

MONO HIGH OUTPUT

MONO HIGH-MID OUTPUT

MONO LOW-MID OUTPUT

MONO LOW OUTPUT

MONO INPUT

MONO 4 WAY
S2000 Power Amp (Bridged Mono Low)

PUSH TO RESET 25A/250V

In this example, the Scom plus is inserted after the mixer and before the graphic equalizer, thereby compressing the full range signal from the mixer.
SERIAL NUMBER BRIDGED MONO STEREO

120V - 60 Hz 35W

+RIGHT

GROUND

INPUTS (BALANCED 10K/0dBm0)

OUTPUT 250W/4

TIP RING SLEEVE TIP + RING SLEEVE GND
~AC INPUT 115V/230W, 50/60HZ 510W (115V)900W (230V)

Right High / Mid

PUSH TO RESET 20A/250V

BALANCED 0dBm

~AC INPUT 115V 60Hz, 920W
TIP=HOT TRS RING=COLD BALANCED SLEEVE=GND
XLR BALANCED 3=COLD 2=HOT 1=GND

BRIDGED STEREO

PARALLEL
~AC INPUT 115V 60Hz, 1100W

Mono Sub

LIVE SOUND SYSTEM WITH MULTIBAND COMPRESSION

S3 Way

S1500 Power Amp (Mid) SCom Plus
In this example, three Scom plus are inserted after the mixer, equalizer and crossover, thereby providing individual compression on the low, mid and high frequencies.

Scom plus Connections

CONNECTING THE Scom plus
The are several ways to interface the Scom plus to support a variety of applications. The Scom plus features servo-balanced inputs and outputs, so connecting balanced and unbalanced signals is possible without any signal loss. The Scom plus can be used on a single instrument by connecting to a channels insert points, or on an entire mix "in-line" between a mixers outputs and a power amp or equalizer. INSERT POINTS Many mixers today provide channel and bus or group inserts. Insert points are input and output patch points that interrupt the channel or bus signal so that external processors can be connected. Channel insert points are ideal for connecting to when using the Scom plus to process a single channel like a vocal, bass or guitar. Bus insert points are ideal for compressing groups of instruments like vocals, strings or drums. If you are connecting to a channels insert points, you may have a single TRS jack for Send & Return. In this case, use an Insert "Y" Cable that configured like the one in the wiring diagram below. Insert Cable 1/4 male TRS connector to two male 1/4 in send and return configuration.

Punta (envo) Funda (comn) Emvo (punta) Retorno (anillo) Punta (envo) Anillo (retorno) Envo (punta)
Retorno (anillo) Funda (comn) Punta (retorno)

Funda (comn)

EN LNEA En las aplicaciones de sonido en directo, el Scom plus puede instalarse en lnea entre un mezclador y un ecualizador o amplificador de potencia. Para estas aplicaciones, el Scom plus dispone tanto de conectores TRS de 1/4" como de conectores XLR para poder interactuar de manera muy sencilla con la mayora de los equipos de audio profesionales. Siga los ejemplos de cableado de la figura inferior para su instalacin concreta.
Conector de 1/4 no equilibrado

Seal Seal Punta (seal)

Gua de cableado XLR equilibrada
Excitado Comn Comn (1) Excitado (2)

Funda (masa)

XLR hembra

Fro (3)

Puntos de Vista exterior soldadura
Conector TRS de 1/4 equilibrado
Seal (punta) Seal (anillo) Punta (seal) Anillo (seal) Seal (punta)
Excitado (2) Comn (1) Comn Excitado

Seal (anillo)

Vista exterior

Puntos de soldadura

XLR macho

Specifications

System Specifications Frequency Response Dynamic range THD Crosstalk Operating Level Max. Input Level CMRR Max. Output Level Balanced Input Connectors Impedance Balanced Output Connectors Impedance Key Input Connector Impedance Max. Input Level Key Output Connector Impedance Max. Output Level Expander/Gate Trigger range Attack Release Ratio Compressor Section Detector Threshold Ratio Manual Attack Time Manual Release Time Output gain Peak Limiter Section Threshold Ratio Limiter Attack Release De-Esser Trigger range Maximum <10Hz to 20kHz +0 / -0.1 dB effect out, -0.4 @ 100kHz, <10Hz to 20kHz +0 / -0.1 dB effect in, -3dB @ >100kHz 116 dB, un-weighted, 22 Hz to 22 kHz 0.008 % typ. @ +4 dBu, 1 kHz Effect out, 0.016% effect in >100dB, 22 Hz to 22 kHz Selectable +4dBu / -10 dBV +21dBu, balanced Min. 40dB, >50dB @ 1kHz +21dBu, balanced
XLR and 1/4" TRS jack >20K Ohms balanced or unbalanced
XLR and 1/4" TRS jack 60 Ohms balanced or unbalanced
1/4" jack 10 k Ohm +21 dBu
1/4" jack 47 Ohms +21 dBu
Variable (Off to +10 dB) <1 ms per 50 dB Variable (Slow:100 ms / 1dB, Fast:100 ms / 100 dB) Expander 1:2, Gate 1:16
RMS -40 dB to +20 dB Variable (1:1 to infinity : 1) Variable (0.3 ms / 20 dB to 300 ms / 20dB) Variable (0.05 to 5 Sec) Variable (-20 to +20 dB)
Variable 0 to Off Preset Ceiling type <5 ms Typ. 20dB/s
variable (off to 12dB) 12dB Gain Reduction mid / high band
Function Switches Gate Gate or Expander Release Fast/slow Enhancer In/Out In/Out Bypass Key Switches the detector section to external key input Auto Sets automatic attack and release times and automated timing - program dependent I/O Meter Switches the Input/Output meter to read input or output level De-Esser In/Out Stereo Link Links both channels for stereo operation. Channel 1 becomes master. Operating Level (Rear Panel) Changes the internal reference level from +4dBu to -10dBV Meters & LED's Gain Reduction Input/Output level Expander/Gate Threshold Peak Limiter Threshold Function switch Power Supply Mains Voltages USA/Canada Mains Voltages Europe Power Consumption Power inlet Physical Dimensions Net Weight Shipping Weight

WALKER SOUND HIRE PRICE LIST 2011 # All prices subject to VAT @ 20% # Items marked "foc" only available with systems # See footnote for period discount breaks
Description AMPLIFIERS & SPEAKERS Bose 802 Speakers ( pair ) Carlsbro Gamma 12/300 Active Speakers ( pair ) Bose 502A Panaray Speakers ( pair ) Bose Speaker Stands ( pair ) Bose Speaker Flying Frames ( pair ) Bose 802 - C controller Bose 502 - C controller Bose 302 Bass Speakers ( pair ) JBL Control 1 Speaker ( pair ) JBL Control SB - 5 Bass Speaker JBL Wall Bracket ( pair ) Eminence 250w Wedge Monitor Speaker Omnitronic M-1220 300w Wedge Monitor Speaker PA M12 - 320w Wedge Monitor Speaker Boss 100A Monitor Speaker Conference Desk Monitor Speaker Tannoy Arden Studio Monitor Speakers ( Pair ) Keff Celeste SP 1107 Hi Fi Speakers ( Pair ) Roland SPA-240 Amplifier Alesis RA - 100 Amplifier Cambridge Audio A1 Hi Fi Amplifier Fostex 6301B Self Powered Monitor Bose 802 Stand Cradle Frame MEYER SPEAKERS , AMPS & CONTROLLERS Meyer UPA-1C Speaker Meyer 650-R2 Sub Speaker Meyer USW-1P Powered Sub Speaker Meyer MSW-2 Sub Speaker Meyer UM-1C Wedge Monitor Speaker Meyer MSL-3C Speaker, c/w wheel dolly Meyer M-1A Controller Meyer B-2A Controller Meyer M-3T Controller C-Audio RA 3001 Amplifier C-Audio RA 2001 Amplifier C-Audio RA 2000 Amplifier C-Audio SR 404 Amplifier Crest Audio MA 5850 Amplifier Crest Audio 4801 Amplifier Crest Audio 4000 Amplifier QSC RMX 2450 Amplifier Flying Frame UPA-1C Manfrotto wind up stand - Type 087NW

1 week

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3 days

54.00 90.00 48.00 18.00 18.00 foc foc 78.00 36.00 24.00 8.00 18.00 21.00 24.00 12.00 9.00 75.00 18.00 30.00 30.00 15.00 15.00 15.00 45.00 40.00 105.00 30.00 45.00 80.00 30.00 30.00 40.00 40.00 40.00 40.00 40.00 40.00 40.00 40.00 40.00 15.00 30.00
18.00 30.00 16.00 6.00 6.00 0.00 0.00 26.00 12.00 8.00 2.67 6.00 7.00 8.00 4.00 3.00 25.00 6.00 10.00 10.00 5.00 5.00 5.00 15.00 13.33 35.00 10.00 15.00 26.67 10.00 10.00 13.33 13.33 13.33 13.33 13.33 13.33 13.33 13.33 13.33 5.00 10.00
36.00 60.00 32.00 12.00 12.00 0.00 0.00 52.00 24.00 16.00 5.33 12.00 14.00 16.00 8.00 6.00 50.00 12.00 20.00 20.00 10.00 10.00 10.00 30.00 26.67 70.00 20.00 30.00 53.33 20.00 20.00 26.67 26.67 26.67 26.67 26.67 26.67 26.67 26.67 26.67 10.00 20.00
54.00 90.00 48.00 18.00 18.00 0.00 0.00 78.00 36.00 24.00 8.00 18.00 21.00 24.00 12.00 9.00 75.00 18.00 30.00 30.00 15.00 15.00 15.00 45.00 40.00 105.00 30.00 45.00 80.00 30.00 30.00 40.00 40.00 40.00 40.00 40.00 40.00 40.00 40.00 40.00 15.00 30.00
MIXING DESKS Midas Siena 400 40/16/2 Mixer Midas Venice 320 24+4/4/2 Mixer Midas Easy Tilt Mixer Stand Soundcraft Spirit Live 4 - 24+2/4/2 Mixer Soundcraft Spirit Folio Rac Pac 10+2/4/2 Mixer Soundcraft Spirit Live 8/3 Mixer Soundcraft Spirit Folio 12/2 Mixer Soundcraft Spirit Folio 10/2 Mixer Soundcraft Spirit Notepad 4+2/2 Mixer Pioneer DJM-600 Pro DJ Mixer Behringer DJX700 Pro DJ Mixer Vestax PMC37 Pro Mixer Behringer DX626 Pro DJ Mixer CASSETTE DECKS Denon DN-730R Cassette c/w rack kit ( variable pitch ) Denon DRM-510 Cassette c/w rack kit Denon DRM-540 Cassette c/w rack kit Denon DRM-24HX Cassette c/w rack kit Kenwood KX-502 Cassette DIGITAL PLAYERS / RECORDERS Pioneer CDJ-1000 Mk3 CD / MP3 Player Numark CDN-22 19" DJ Dual CD Player Tascam SS-CDR1 Solid State Recorder Tascam MD-801R Mini Disc Tascam DA-30 DAT Tascam CD - 450 Compact Disc Denon DCD - 715 Compact Disc Denon DCD - 615 Compact Disc JVC XL-V211BK Compact Disc DigiCart II Audio Hard Disk ( + Bernoulli drive ) Sony Nicam Stereo VHS VCR Sony DVD Player TURNTABLES Technics SL-1200 Mk 2 Turntable Technics SL-D2 XGE Turntable EFECTS & PROCESSING Alesis 3630 Dual Limiter Compressor with Gate Samson SCOM Dual Channel Compressor Limiter Samson S-Com Plus S Com Compressor Limiter + Gate Samson S-Phone 4 Channel Headphone Amplifier Behringer MDX 2100 Dual Limiter Compressor Behringer Pro MX882 Ultralink Mix / Split Behringer Pro DSP1124P Feedback Destroyer BSS FCS-926 Varicurve Dual Equaliser / Analyser BSS DPR 402 Limiter Compressor BSS TCS-803 Mono Digital Delay (1in:3out) BSS TCS-804 Stereo Digital Delay (2in:4out) C - Audio EQ 312 Dual 31 band Equaliser Samson SCURVE 231 Dual Channel Graphic Equaliser TC Electronics D-Two Multitap Rhythm Delay Yamaha SPX 90 MkII Digital Effects Unit Yamaha SPX 990 Digital Effects Unit Surrey Electronics Frequency Shifter Aphex Aural Exciter type C Model 103A Alice DA 6-2 Dual Distribution Amplifier
375.00 180.00 30.00 150.00 60.00 54.00 48.00 45.00 42.00 90.00 57.00 57.00 48.00 30.00 24.00 24.00 24.00 18.00 120.00 45.00 75.00 75.00 75.00 45.00 30.00 30.00 30.00 120.00 90.00 75.00 45.00 36.00 38.00 45.00 48.00 30.00 45.00 24.00 24.00 75.00 50.00 66.00 75.00 48.00 48.00 60.00 60.00 75.00 30.00 30.00 24.00

125.00 60.00 10.00 50.00 20.00 18.00 16.00 15.00 14.00 30.00 19.00 19.00 16.00 10.00 8.00 8.00 8.00 6.00 40.00 15.00 25.00 25.00 25.00 15.00 10.00 10.00 10.00 40.00 30.00 25.00 15.00 12.00 12.67 15.00 16.00 10.00 15.00 8.00 8.00 25.00 16.67 22.00 25.00 16.00 16.00 20.00 20.00 25.00 10.00 10.00 8.00
250.00 120.00 20.00 100.00 40.00 36.00 32.00 30.00 28.00 60.00 38.00 38.00 32.00 20.00 16.00 16.00 16.00 12.00 80.00 30.00 50.00 50.00 50.00 30.00 20.00 20.00 20.00 80.00 60.00 50.00 30.00 24.00 25.33 30.00 32.00 20.00 30.00 16.00 16.00 50.00 33.33 44.00 50.00 32.00 32.00 40.00 40.00 50.00 20.00 20.00 16.00
JBL Dolby Surround Pro Logic Processor RADIO MICROPHONES Sennheiser ASP-2 Antenna Distribution Sennheiser AB1-E Antenna Booster Sennheiser A1031-U Omni directional Antenna Audio Technica ATW-49SP Active Antenna Splitter Sennheiser Evolution EW500 UHF Radio Mic Sennheiser Evolution EW300 UHF Radio Mic Sennheiser Evolution EW100 UHF Radio Mic G2 comes with Sennheiser ME 2 lapel comes with Sennheiser ME 4 lapel comes with Sennheiser ME 3 headset comes with Sennheiser EW500 Hand Held comes with Sennheiser EW300 Hand Held Sennheiser EW300 IEM In-Ear Monitor System TX RX Aditional EW300 IEM RX each comes with AKG IP 1 earpieces comes with Sennheiser IE 1 earpieces RADIO ACCESSORIES Audio Technica ATM 73ACB Microphone ( Headset ) Audio Technica PRO 8D Microphone ( Headset ) DPA 4066-F Adjustable Headband Microphone, Beige DPA 4065-F Headband Microphone, Beige DPA 4061-F Miniature Lapel Microphone, Beige DPA 4061-F Miniature Lapel Microphone, Black DPA 4071-B Miniature Lapel Microphone, Black Canford Audio 3.5mm to M/XLR Adaptor MICROPHONES Shure SM 58 Microphone Shure SM 58 Beta Microphone Shure SM 57 Microphone Shure SM 57 Beta Microphone K&M Boom Stand Audio Technica ATM 41A Microphone Audio Technica ATM 73ACB Microphone ( Headset ) Audio Technica PRO 8D Microphone ( Headset ) Audio Technica AT935 AMR/ML short gun Microphone Rode NTG-1 Condenser Microphone Beyer M 300N Microphone Electro Voice PL 95A Microphone AKG D112 Microphone AKG C418 Clip On Drum Percussion Microphone Sennheiser E602 Percussion Microphone Sennheiser E604 Clip On Drum Percussion Microphone Sennheiser E904 Clip On Drum Percussion Microphone Sennheiser E914 Percussion Microphone AKG C451 / CK1 Microphone AKG D80 Microphone AKG VR1 Extention Tube Crown 33-1090A Pressure Zone Microphone Shure SM 10 Microphone ( Headset ) Calrec CM 15 Reference Microphone Telesonic Lorgnette BSS AR - 133 Active DI Box
18.00 36.00 9.00 6.00 15.00 60.00 60.00 60.00
6.00 12.00 3.00 2.00 5.00 20.00 20.00 20.00
12.00 24.00 6.00 4.00 10.00 40.00 40.00 40.00

75.00 21.00

25.00 7.00

50.00 14.00

32 Amp Mains Distro ( three phase ) LIGHTING Martin Mac 250 Moving Head ( special price ) Chauvet Intimidator 2.0 DMX Scanner Chauvet Insignia 2.0 DMX Barrel Scanner Thomas Par 64 1000w long nose can ( black ) Par 56 300w Floorcan ( chrome ) CCT Profile 650w Spot Zero 88 Betapack 6 way Dimmer Rack Zero 88 Demux 48 control Pulsar Masterpiece 108 DMX Lighting Desk Pulsar Masterpiece Screen Driver Behringer Eurolight LC2412 24-Channel DMX Desk Q Commander DMX controller GVG-922 1500w Upward Fog / Smoke Machine Manfrotto wind up stand - Type 087NW 2m 2" Tube Bar 2m Opti Trilite 200 Lighting Truss 10m 19 pin Socapex multicore 1.5 15m 19 pin Socapex multicore 1.5 20m 19 pin Socapex multicore 1.5 30m 19 pin Socapex multicore 1.5 Socapex 6x 15A plug plug Fanout Socapex 6x 15A plug socket Fanout 10m 15A TRS Cable 20m 15A TRS Cable 15A plug to 2 x 15A socket splitter RIGGING Zarges 3 section 9.7m Ladder Parrot Pearch 2" 1.5m Steel Sling 2m 1 ton Shackle 2 ton Shackle 1.5 ton Spanset 4m 1 ton OUTDOOR SYSTEMS All weather P.A horn & drive unit Pole Putlug Clip Drival C/T/H MA 150 line amplifier C/T/H MA 360 line amplifier 500M Speaker cable Cable winder
40.00 120.00 54.00 54.00 9.00 6.00 12.00 24.00 20.00 75.00 30.00 45.00 75.00 36.00 30.00 0.50 21.00 8.00 10.00 12.00 15.00 2.00 2.00 1.00 2.00 1.00 60.00 2.00 1.00 0.25 0.25 1.00 48.00 2.00 1.00 0.50 5.00 60.00 120.00 40.00 5.00
13.33 40.00 18.00 18.00 3.00 2.00 4.00 8.00 6.67 25.00 10.00 15.00 25.00 12.00 10.00 0.17 7.00 2.67 3.33 4.00 5.00 0.67 0.67 0.33 0.67 0.33 20.00 0.67 0.33 0.08 0.08 0.33 16.00 0.67 0.33 0.17 1.67 20.00 40.00 13.33 1.67
26.67 80.00 36.00 36.00 6.00 4.00 8.00 16.00 13.33 50.00 20.00 30.00 50.00 24.00 20.00 0.33 14.00 5.33 6.67 8.00 10.00 1.33 1.33 0.67 1.33 0.67 40.00 1.33 0.67 0.17 0.17 0.67 32.00 1.33 0.67 0.33 3.33 40.00 80.00 26.67 3.33
Desk Stand Pair H/H two way radio's AUDIO CABLE 50m XLR - XLR cable 20m XLR - XLR cable 12m XLR - XLR cable 10m XLR - XLR cable 5m XLR - XLR cable 3m XLR - XLR cable 0.5m XLR - XLR cable patch BITS Beyer MKV8 Mic clip Beyer MKV9 Mic clip AKG SA43 Mic clip XLR M/M Gender Changer XLR F/F Gender Changer Jack to Jack Jack to Female XLR Lead ( balanced ) Jack to Male XLR Lead ( balanced ) Jack to Female XLR Lead ( unbalanced ) Jack to Male XLR Lead ( unbalanced ) Dual Jack to Phono Dual Phono to Phono Stereo Jack to 2 Jacks ( insert ) MAINS CABLE 20m 32 Amp Mains Cable / C-Form 10m 32 Amp Mains Cable / C-Form Rolaflex Mains Extention 15m Heavy Duty Mains Extention 4 Way Mains Block EP Mains Lead 16 Amp C-Form to 13 A Mains Lead 16 Amp C-Form to C-Form IEC to IEC IEC Mains Lead CASES Attach Hand Case Road Flight Case ( aluminium ) Road Flight Case Trunk Flight Case, c/w wheels Road Flight Case ( 2' X 4' X 2' ), c/w wheels 15U Rack Flight Case ( Meyer ), c/w wheels 12U Rack Flight Case ( Meyer ), c/w wheels 12U Rack Flight Case ( silver ), c/w/ wheels 8U Rack Flight Case ( brown ), c/w wheels 6U Rack Flight Case ( blue ), c/w wheels 6U Rack Flight Case ( blue ) 3U Rack Flight Case ( black ) 3U Rack Flight Case ( red ) 4U Rack Flight Case ( Stratto - aluminium ) 3U Rack Flight Case ( Stratto - aluminium ) 2U Rack Flight Case ( Stratto - aluminium ) Wheel Dolly HARDWARE Safety Chain & Shackle

2.00 35.00 foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc foc

0.67 11.67

1.33 23.33

2.00 35.00

CD 2 Cable Drum Webbing Strap DISCOUNTS 4 weeks plus - less 10% 6 weeks plus - less 20% 12 weeks plus - less 30% 24 weeks plus less 40% 48 weeks plus - less 50%

foc foc