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

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.

Threshold

Threshold is the level that once the signal exceeds, gain reduction is applied. The normal range of adjustment for the threshold level is 40 to +20 dBu. If the threshold level is set above the highest level of the signal being sent to the compressors, the gain reduction is never triggered. Therefore, the compressor is virtually by-passed. If the threshold level is set very low so that any signal will trigger gain reduction, the compressor is working as an automatic leveler.
The ratio control is used to set the proportion of gain reduction in relationship to the input signal. For example if the ratio is set to 2:1 and the signal crosses above the threshold level, an increase in level of 2 dB will produce a 1 dB increase in level at the output. A ratio setting of to 1 means that an infinite amount of input signal is needed to raise the output level by 1 dB. This means that the output level stays constant even when the input crosses over the threshold level.

Attack Time

Attack time is the amount of time that a compressor takes to effect the gain reduction after the signal rises above the threshold level. A well-designed compressor has adjustable attack times ranging from 100 s (microseconds) to 150 ms (milliseconds). A good compressor will sound smooth as it begins to control the gain regardless of the attack time.

Release Time

The release time is set to control how long the compressor takes to return the input signal back to its original level once the signal falls below the threshold level. The acceptable range for release time is from 50s to 5 seconds. In normal use, faster release times are used for spoken word and longer release times are generally better for instrumental music.

Auto Attack and Release

Today, sophisticated compressors often incorporate a dynamic or Auto Attack and Release mode. The Scom plus AEG (Auto Envelope Generator) is such a mode which when engaged, automatically adjusts the attack and release time based on the dynamically changing input signal.
Dynamics Processing 101 - Continued

Soft-Knee / Hard-Knee

In order to prevent harsh, unnatural envelopes on compressed signals sophisticated dynamics processors like the Scom plus feature an SKD (Smart Knee Detector) or automatic knee circuit. The Smart Knee Detector automatically switches from Soft-Knee when the signal is less than 10 dB over Threshold, to Hard-Knee when the signal is 10db above Threshold. In Soft-Knee mode, there is a gradual effect on gain change, which begins as the signal approaches the Threshold level. In Hard-Knee mode, gain reduction is linear based on the Threshold and Ratio controls. Any signal that falls below the Threshold level will be unprocessed.

Noise Gates

Noise gates are used to remove unwanted noise and/or bleed from recorded tracks in the studio or from open microphones in live sound systems. Noise gates can also be used as a sound effect, most commonly to chop the end of a reverb lets say on a snare drum so that the entire snare sound ends just before the beat. The basic principle of a noise gate is to work as an automatic mute switch. Mute off (Gate Open) when the desired signal is present and mute on (Gate Closed) when the desired signal is not present. In order to get the gate to work predictably, it is necessary to set a threshold, or trigger level that will determine when the gate will open. If the signal is below the trigger the gate will remain closed. When the signal is above the trigger, the gate will trigger open allowing the desired signal to pass and be heard. Noise gates often have other adjustable controls like attack, hold, range and release. Many noise gates like the Scom plus use sophisticated circuits to control some of these parameters automatically.

Downward Expander

The purpose of a well-designed Downward Expander is to increase the perceived dynamic range of a system. This is accomplished by decreasing the gain during the softer sections, thereby lowering the relative noise floor. When the signal level is below the desired trigger level, the expander lowers the overall gain by the selected amount.

Limiter

A Limiter is a specific form of a compressor configured to prevent peaks and for general overload protection. The Scom plus offers a Limiter section with independent controls designed to work in conjunction with the Compressor section. The operating range of the Limiter is from 0 to +20dB and when engaged, protects against signal peaks, overloads and excess modulation in broadcast situations.

Stereo Link Mode

The Scom plus can be configured from dual-mono operation to stereo by using the Stereo Link switch. In Stereo Link mode, Channel 2 functions are controlled by the settings of Channel 1 with the exception of IN/OUT, KEY and LIMITER.
Side Chain / External Key
The Scom plus features a side-chain or external Key function. The external Key function is used to externally process the compressors detector circuit. There are many useful applications for processing the detector circuit including Equalizing for frequency dependent compression, De-Essing - the use of EQ to remove sibilance, and externally keying off a vocal track for Ducking effects to name a few. Selecting the Key function on Scom plus front panel, interrupts the compressors detector path and routes it to the Key Output jack. The Key Input jack receives the externally processed signal, which will now control the compressors detector.

Applications

Using the Expander/Gate to Remove Hiss and Noise
The Scom plus is an extremely useful tool in reducing the level of unwanted noises. By using the Expander/Gate you can effectively fade the noise into the noise floor or abruptly turn the unwanted signal completely off.
Lets say you want to reduce the bleed or cross talk that occurs when different instruments are recorded in close proximity to each other. You have recorded an acoustic guitar simultaneously in the same room as with some other acoustic instruments. The problem is that you hear a lot of the other instruments playing when the acoustic guitar is silent. This can cause phasing and comb filtering problems due to microphone placement, so having the bleeding signal drop into the noise floor is desirable. To do this, set the Scom plus to Expander mode with the Release switch to Slow and adjust the Threshold so that the acoustic guitar signal is well above the threshold level. When the signal from the acoustic guitar track falls below the threshold level, the signal subtly fades into the noise floor. Now lets say youre attempting to remove the pick-up noise and hum from a guitar track that was recorded through a loud amplifier. The hum and noise is most noticeable in-between the rhythm of the performance, so you want to have the gate close during the silent parts and open during the musical passages. To do this, set the Scom plus to Gate mode and adjust the Trigger level so that the gate is open just during the musical guitar parts, and so that the gate is closed during the silent passages so that the hum and noise is muted.

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.
Tip (send) Sleeve (common) Send (tip) Return (ring) Tip (send) Ring (return) Send (tip)

Return (ring) Common

Common

Sleeve (common)

Sleeve (common) Tip (return)
IN-LINE In live sound operation the Scom plus can be installed in-line between a mixer and equalizer or power amplifier. For these applications the Scom plus provides both 1/4" TRS connectors and XLR connectors to easily interface with most any professional audio device. Follow the wiring examples below for your particular installation.

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
12 segment LED display 30 / 27 / 24 / 21 / 18 / 15 / 12 / 9 / 6 / 4 / 2 / 1dB 12 segment LED display: -30 / -24 / -18 / -12 / -6 / -3 / 0 / +3 / +6 / +9 / +12 / +18dB 2 LED's Gate open, Gate closed 1 LED for Indication of Limiter function LED indicator in each (except 0perating Level Switch)
105 - 125 VAC ~, 60 Hz 215 - 254 VAC~,50 / 60Hz 10 Watts Standard IEC receptacle/with fuse
1 3/4 (44.5 mm) x 19 (482.6 mm) x 7 3/4 (197 mm) 5lbs., (2.3 kg) 7.5lbs., (3.4 kg)
+4dBu or -10dBv -10dBv +4dBu
I/O LEVEL BYPASS OUT IN ENHANCER FILTER METER SOURCE OUTPUT VCA ENHANCER KEY OUTPUT VCA DC Control COMPARATOR I/O LEVEL METER FULL WAVE RECTIFIER LIMITER INPUT

I/O LEVEL

-10dBv

+4dBu or -10dBv

OUTPUT LEVEL

GAIN REDUCTION METER

EXTERNAL KEY INPUT EXTERNAL DE-ESSER INTERNAL OUT DBPF IN
KEY SOURCE COMPRESSOR CONTROL RMS to DC CONVERTER COMPRESSOR

GATE CONTROL

EXPANDER / GATE LIMITER DC CONTROL STEREO LINK

DE-ESSER METER

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

21.00 12.00 30.00 30.00 30.00 30.00 30.00 3.00 12.00 15.00 12.00 15.00 6.00 12.00 21.00 12.00 21.00 27.00 12.00 12.00 15.00 15.00 15.00 15.00 27.00 27.00 15.00 12.00 6.00 12.00 12.00 15.00 10.00 12.00
7.00 4.00 10.00 10.00 10.00 10.00 10.00 1.00 4.00 5.00 4.00 5.00 2.00 4.00 7.00 4.00 7.00 9.00 4.00 4.00 5.00 5.00 5.00 5.00 9.00 9.00 5.00 4.00 2.00 4.00 4.00 5.00 3.33 4.00

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