EIGHT CHANNEL MIXER
WITH 24BIT DIGITAL EFFECTS
AND HARD DISK MODE
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Table of Contents
Introduction
2
3
4
5
MDR8 Features
Front and Rear Panel Layout
Front and Rear Panel Controls
Controls and Functions
Mono Input Channel Section
Master Section
6–7
8–9
MDR8 Input and Output Connections
Operating the MDR8
System Set-ups
10–11
12–16
17–18
19
MDR8 Wiring Guide
Specifications
20
Block Diagram
21
Copyright 2003 - 2004, Samson Technologies Corp.
Printed March, 2004
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
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Introduction
Congratulations on your purchase of the Samson MDR8 mixer! The MDR8 is an eight channel mixer, with six low
noise microphone pre-amps, and built-in 24 BIT DSP effects processor. The MDR8 also features HDM (Hard
Disk Mode), which when engaged, provides a special monitoring and bussing mode ideal for interfacing with a
computer based hard disk recorder. Clean, clear sound reproduction with dazzling digital effects including Delay,
Chorus and lush Reverb, packaged in a rugged enclosure, ensure reliable high quality sound from performance
to performance. Optimized for recording, live sound reinforcement and commercial installations, the MDR8 is an
ideal mixer solution offering big sound in a compact package.
In these pages, you’ll find a detailed description of the features of the MDR8 mixer, as well a description of its
front and rear panels, step-by-step instructions for its setup and use, and full specifications. You’ll also find a war-
ranty card enclosed—please don’t 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 MDR8 will operate trouble free for many years. We recom-
mend 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.
2
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MDR8 Features
The Samson MDR8, eight channel mixer with onboard 24 BIT DSP is a comprehensive, all-in-one solution for live
sound, recording, fixed installation and post production applications. Here are some of its main features:
•
•
•
Eight Channels – Four Mic/Line plus two Stereo inputs with mic pre’s.
Flexible design topology ideal for live sound, recording and post production.
On-board 24 BIT DSP (Digital Signal Processor) multi-effects processor with eight great sounding pre-
sets including REVERB, DELAY AND CHORUS.
•
Unique monitoring and bussing in HDM (HARD DISK MODE) provides a seamless interface with com-
puter based, hard disk recording systems.
•
•
60 mm audio taper faders on all channels and the master Mix outputs.
2T LEVEL control allows you to mix in a CD, DAT, Cassette, Computer Sound Card or Mini Disk with the
channel faders.
•
Three-band channel equalizer, +/-15dB at 80Hz, 2.5 KHz and 12KHz provides precise and musical
results in sound shaping.
•
•
•
Two Auxiliary Sends for built-in or external effects, on stage monitor mix, or headphone mixing.
Five segment LED Meter with VU ballistics displays the main MIX output.
High quality, low noise, discrete microphone pre-amplifiers with 48-Volt phantom power, provide
Maximum Dynamic Range and transparent audio.
•
•
•
Advanced circuit design using discrete components and high quality, low noise op-amps carefully select-
ed at each stage of the signal path.
Quality built and rugged construction ensure reliable performance from venue to venue and session to
session.
Three-year extended warranty.
3
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Front and Rear Panel Layout
4
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Front and Rear Panel Layout
FRONT PANEL
1
2
3
4
5
6
7
8
MIC/LINE – Combination Input connector for Low-Noise
Microphone pre-amp and Line level inputs.
20 MONO OUT LEVEL – Used to set the volume of the
MONO mix.
GAIN – Used to set the input level of the mic pre and line
input.
21 2TK LEVEL (2T TO MIX) - Level control used to mix
the 2 track input.
CLIP – Red LED will illuminate indicating when the mic
GAIN has been adjusted too high.
22 2 TRACK INPUTS & OUTPUTS – Connect a DAT,
Cassette, Mini Disk or Hard Disk Recording system.
HIGH FREQUENCY - Controls the high band of the
Channel Equalizer, +/- 15 dB at 12KHz.
23 HDM ( Hard Disk Mode) - Switch configures the mixer
for recording and overdubbing on a computer based
hard disk recording system.
MID FREQUENCY - Controls the mid band of the Channel
Equalizer, +/- 15 dB at 2.5KHz.
24 PHANTOM – Indicates that the 48 Volt Phantom
Power is on.
LOW FREQUENCY - Controls the low band of the Channel
Equalizer, +/- 15 dB at 80Hz.
25 POWER – Indicates the MDR8 is powered up.
LOW CUT – Bass roll off switch at 80Hz used to eliminate
unwanted low end rumble and hum.
26 OUTPUT METER - Five segment display with VU bal-
listics indicates main Mix level.
AUX 1/MONITOR – Pre fader auxiliary send that can be
used with an external effects processor, or to create a cue
or monitor mix.
27 DSP PEAK LED - LED light illuminates when the signal
sent to the internal DSP is clipped.
28 AUX 1 RETURN – Used to mix in level of the external
9
AUX 2/DSP – Post fader auxiliary send connected to the
internal 24 BIT DSP effect processor and can also be
used with an external effects processor.
effects.
29 AUX 2 RETURN – Used to mix in level of the internal
DSP effects return.
10 PAN – Controls the channel’s balance between left and
right in the stereo bus.
30 SELECT - Used to switch between the 8 pre-sets of
the internal DSP effects processor.
11 RECORD – Used in the HDM (HARD DISK MODE) to
assign the channel to the Record bus.
31 2TRACK/MIX – Switches between the main Mix and
the 2 Track in the Control Room output.
12 FADER – 60 mm audio taper fader provides smooth con-
trol over level changes.
32 C ROOM/HEADPHONE – Adjusts the volume of the
control room speakers or headphones.
13 STEREO RIGHT LINE – Right Line Input connector on the
stereo channels.
33 HEADPHONE JACK – Connect stereo headphones
here.
14 STEREO MIC/LINE - Combination Input connector for Low-
Noise Microphone pre-amp and Left Line Inputs for the
stereo channels.
34 MIX FADERS- Used to control the overall volume of
the Left and Right main Mix outputs.
15 AUX 2– Output connector for Auxiliary 2.
REAR PANEL
A
AC ADAPTER INLET – Connect External AC power
supply here.
16 AUX 1 - Output connector for Auxiliary 1.
17 CONTROL ROOM – Left and Right output connectors for
B
C
POWER – Switches on the MDR8’s main power.
connecting a monitor system.
PHANTOM – Engages the 48-Volt Phantom power
supply to microphone pre- amps.
18 MIX – Left and Right main Mix output connectors.
19 MONO OUT – The Left and Right main Mix outputs are
summed together to a monaural signal and sent out this
connector.
D
E
AUX 1 RETURN – Connectors for stereo effects return.
AUX 2 RETURN – Connectors for stereo effects return.
5
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Controls and Functions
MONO INPUT CHANNEL SECTION
The following section details each part of the MDR8’s MONO INPUT CHANNELS including the GAIN control, 3-
BAND EQ, AUX sends, RECORD, PAN and LEVEL controls. The input channels one through four on the MDR8
feature high quality, discrete transistor pre-amp providing transparency and extended dynamic range. The com-
bination connector accepts a standard XLR mic cable for microphone level signals, or a standard 1/4" phone
cable,either balanced (TRS – TIP/ RING/SLEEVE) or unbalanced (TS – TIP/SLEEVE) for line level signals.
GAIN
1
The MDR8’s pre-amp stage has a variable GAIN control with a range of 5 to
60dB on the MIC input and –26 to +26dB on the LINE input.
1
2 CLIP LED
The MDR8’s MIC/LINE pre-amp also includes a CLIP LED which, when illumi-
nated, indicates that the signal is peaking or overloading. To reduce distortion,
lower the GAIN control to keep this LED from staying on.
2
3
CHANNEL EQUALIZER
3
The MDR8 input channels feature a 3-band equalizer allowing you to adjust the
high, mid, and low frequencies independently on each channel. The channel’s
frequency response is flat when the knobs are in the "12:00" position. Rotating
the knob towards the right will boost the corresponding frequency band by
15dB, and rotating it towards the left will cut the frequency by 15dB. The fre-
quency centers, range of boost or cut, and equalizer type for each band are as
follows:
High: 12KHz +/- 15dB shelving type
Mid: 2.5KHz +/- 15dB peaking type
Low: 80Hz +/- 15dB shelving type
LOW CUT FILTER
4
4
5
6
Each of the MDR8’s channels include a LOW CUT (or high pass) filter which
rolls off the low frequencies from 80Hz and below at the rate of 12dB per
octave.
AUX 1/MON SEND
5
6
The MDR8 has two auxiliary sends which can be used for sending signals to the external effects devices or
for creating a monitor mix. The AUX1/MON section is often used for a monitor mix in a live sound mixing, or
for a headphone mix in a recording application. Each input channel includes an AUX 1/Mon send which con-
trols the amount of that channel’s signal that is sent to the AUX 1/Mon bus. The Input channel’s AUX 2/Mon
sends are mixed together and are sent to the AUX 1 OUT jack.
AUX 2 / DSP Send
The MDR8 provides high quality, 24 Bit digital effects, and the level of effects can be set independently on
each channel. The channel’s AUX 2/DSP knob controls the amount of signal that is sent to the AUX
2/DSP bus. The signal of the AUX 2/DSP bus is routed to the internal DSP effects section for onboard sig-
nal processing. The AUX 2/DSP signal can also be sent to an external effect device connected to the
AUX 2 OUT jacks located in the MASTER SECTION jack field.
6
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Controls and Functions
(MONO INPUT CHANNEL CONTINUED)
NOTE: The channel’s AUX 2/DSP signal is sent to the AUX 2/DSP bus from a location in the signal path
after the channel’s LEVEL control. This is commonly referred to as a POST FADER send. This means
that the amount of signal that is sent to the EFFECT bus will be affected not only by the setting of the AUX
2/DSP knob control, but it will also be affected by the setting of the LEVEL control.
BALANCE (Stereo Inputs Only)
7
The MDR8’s BALANCE control is used to place or position the stereo
signal into the main Left and Right MIX bus. You can move a stereo
signal’s image to the left or right by setting the BALANCE control to
the left or to the right.
7
PAN (Mono Inputs Only)
8
The MDR8’s PAN control is used to place or position the mono signal
into the stereo main Left and Right MIX bus. You can create a stereo
image by panning some input signals to the left and others to the
right. The MDR8’s PAN control is a Power-Pan circuit, which includes
8
a 3dB dip in the center position. This is desirable since there’s a 3dB
increase in gain when the mono input signal is heard in both the Left
and Right MIX bus.
RECORD
9
9
The RECORD switch is used when operating the MDR8’s HDM
(HARD DISK MODE). If HDM in the master section is not engaged,
the RECORD switch LED will be off and pressing the RECORD
switch will have no effect. This is the normal mode of operation for
most live mixing situations, however since the HDM provides some
extra flexibility in signal routing, the HDM can be used for zone mix-
ing as well. For more information on the HDM see the section “Using
the HDM” on page 15 of this manual.
10
FADER
10
The MDR8’s 60mm input FADER controls the overall channel level.
The input FADER features an audio taper and no detents for smooth
fades.
7
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Controls and Functions
MASTER SECTION
2 TRACK INPUT AND OUTPUT
The MDR8’s 2 Track section provides the connections for playback and recording for an external device
such as a DAT, cassette recorder, CD or Mini Disk.
2TK LEVEL
11
The 2TK LEVEL control is used to adjust the amount of signal that is sent from the 2T IN jacks to the main
L/R Mix bus. For more information see the section, "Playing back a CD Using the 2 Track to MIX" on page
15 of this manual.
HDM
12
The HDM switch enables the HARD DISK MODE and is
used to interface with a computer based hard disk
recorder. When turned on, the channel RECORD switches
are activated for special bussing and monitoring features.
For more information on using HDM, see the section
"Using the HDM" on page 15 of this manual.
11
12
15
24 BIT DIGITAL EFFECT SECTION
The MDR8 features a built-in, 24 Bit Digital Effects proces-
sor with high quality, studio grade effects such as Delay,
Chorus and Reverb. The following section describes the
features of the powerful on-board DSP.
16
SELECT Switch (DIGITAL EFFECTS)
13
14
13
The SELECT switch allows you to select one of the eight
built-in digital effects. Simply rotate the SELECT knob to choose
the various effect pre-sets.
DSP PEAK
14
The DSP PEAK indicator lets you know when you are sending too much level to the internal effects proces-
sors. If the LED illuminates, turn down the signal from the channel’s AUX 2 /DSP send. You may need to
do this on more than one channel if you have multiple inputs sending to the internal DSP.
DSP TO MON
15
The DSP TO MON allows you to add the internal effects to the AUX 1/ MON send. When you raise the level
of the DSP TO MON control, the signal from the DSP return is mixed in to the AUX 1/ MON. You can use
this to add effects to your monitor mix in a live sound mix or to your headphone mix in the studio.
16
Effect Preset List
This section identifies the eight built-in DSP effects presets. Following is the effects pre-set list:
8
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Controls and Functions
MASTER SECTION (continued)
Auxiliary Returns
The MDR8 has two stereo auxiliary returns, which can be accessed via the two pairs of 1/4-inch phone jacks located on the
rear panel. The auxiliary returns can be used to connect any stereo line level signal, but they are primarily used to connect the
output of external effects processors. The MDR8’s on-board effects are internally connected to the auxiliary 2 return.
AUX RET 1
17
This adjusts the amount of signal that is sent from the AUX 1 RET jacks to the MAIN bus.
22 23
AUX/DSP RET 2
18
The AUX/ DSP RET 2 adjusts the level of the signal present at the AUX
2 RET jacks. This signal is summed, or mixed in to the main L/R MIX
bus. When using the on-board digital effects, the AUX/DSP RET 2 con-
trol is used to control the output level of the internal DSP effects proces-
17
sor, which is also summed with the main L/R MIX bus.
18
Output Section
The MDR8 has two main outputs for listening to your stereo mix. The Left and
Right Mix outputs, which, in a live sound application, you’ll hook up to your
power amp and PA speakers, and the Control Room outputs which you’ll use to
connect your powered studio monitors to in a recording application. The follow-
ing section explains the controls that you will use to route the signal to feed
these outputs.
24
19
MIX/2T
19
The MIX/2T switch selects the signal source that you are monitoring in the
CONTROL ROOM and HEADPHONE outputs. When the switch is in the
up position, the signal source is from the LEFT/ RIGHT MIX bus. Since
20
the signal source is now set to the Left and Right Mix bus, be sure that
the Left and Right Mix faders are pushed up to feed the signal to the
Control Room and headphone outputs. When the MIX/2T switch is in the
down position, the signal source is from the 2 TRACK input. Since the sig-
nal source is now set to the 2-track input, be sure that the 2TK LEVEL
control is turned up to feed the signal to the Control Room and head-
phone outputs.
21
20 C/ROOM + PHONES
The C/ROOM + PHONES control is used to set the level sent to the Control Room outputs, and also to the headphone
jack. As explained in the previous section, the MIX/2T will determine what signal is sent to the Control Room and
Headphone outputs. Be sure to adust the Left and Right Mix faders or 2T to Mix control to send the desired signal level
to the Control Room and Headphone outputs.
L MIX R
21
The L&R MIX faders are the over-all volume control for the MIX bus. The L&R MIX faders affects both the signal which
is output to the CONTROL ROOM speakers and the line level signal which is output from the MIX OUTPUT jacks.
Meters and Indicators
+48V - Phantom Power LED
22
The +48V LED illuminates indicating that the 48 volt phantom power is applied to the microphone pre-amps enabling
use with condenser microphones. The +48V LED will light up when the Phantom Power switch located on the rear
panel is switched to the ON position.
23
POWER LED
The Power LED lights up to indicate that the main POWER switch, located on the rear panel, is on.
Output Level Meter
24
The OUTPUT LEVEL METER allows you to monitor the level of the signal which is being sent to the L&R MIX OUTPUT
jacks. NOTE: To avoid distortion, adjust the L/R MIX faders LEVEL control so that the 0 indicator LED lights occa-
sionally.
9
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MDR8 Input and Output Connections
5
9
3
1
2
4
6
7
8
CHANNEL 1–8 MIC and LINE INPUTS
The MDR8’s eight input channels each have a "Combie" (combination XLR & 1/4-inch) connector with a LINE
level, Hi-Z (High Impedance) input and a MIC level, Low-Z (Low Impedance) input. By using the GAIN control
on channels 1-4 you can connect a variety of signal sources from microphones and direct boxes to line level
devices such as synthesizers and drum machines. All the LINE and MIC inputs are balanced. The MIC inputs
are compatible with microphones with output impedances of 50~600 Ohms and the LINE inputs are compatible
with line level devices of 600 Ohms.
NOTE: It is not possible to simultaneously use both the LINE and MIC inputs on the same channel (with the
exception on the stereo input channels). Use only one of the inputs for the appropriate source for each channel.
Following below is a detailed description of the MDR8’s input and output connectors.
Line Level Input - Mono Input Channels
1
2
Use these inputs to connect line level signal from synthesizers, drum machines, effects processors or any
line-level signal. The LINE inputs have a nominal operating level of -40dB through - 10dB. TRS phone jacks
(located in the center of the combie connector). Connector pin-out - Sleeve: Ground, Tip: Hot (+), Ring: Cold
(-)
Microphone Input - Mono Input Channels
Use these inputs to connect Low Impedance microphones and low level signals from direct boxes. The MIC
inputs have a nominal operating level of –50dB through -20dB. The MIC inputs also feature +48V phantom
power, allowing you to use condenser microphones. The Phantom Power switch located on the MDR8’s
rear panel enables phantom power on all the microphone inputs when set to the ON position. XLR
Connector pin-out - Pin 1: Ground, Pin 2: Hot (+), Pin 3: Cold (-)
Line Level Input - Stereo Input Channels
3
4
The MDR8’s stereo channels have a stereo LINE input with the Left Input located in the center of the
Combie connector and a separate 1/4-inch connector for the Right Input. You can connect the outputs
from stereo devices such as synthesizers, drum machines, effects processors or any stereo line-level sig-
nal. The LINE inputs have a nominal operating level of -40dB through - 10dB. TRS phone jacks Connector
pin-out - Sleeve: Ground, Tip: Hot (+), Ring: Cold (-)
Microphone Input - Stereo Input Channels
The MDR8’s stereo channels have a utility MIC input located on the Combie connector. The utility MIC
inputs have a nominal operating level of –50dB through -20dB. The MIC inputs also feature +48V phantom
power, allowing you to use condenser microphones. The Phantom Power switch located on the MDR8’s
rear panel enables phantom power on all the microphone inputs when set to the ON position. XLR
Connector pin-out - Pin 1: Ground, Pin 2: Hot (+), Pin 3: Cold (-)
10
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MDR8 Input and Output Connections
EXTERNAL OUTPUT JACKS
The MDR8 features several output connectors allowing you to interface a variety of external devices. A stereo
recording device such as a cassette recorder can be connected to the 2 Track jacks, and additional power ampli-
fiers can be connected to the CONTROL ROOM and MAIN output jacks.
AUX 1 Output
5
The signal present at the AUX 1 output is sent from the AUX 1/ MON bus, which is fed from the AUX 1/
MON send on the input channels. The AUX 1 output can be used as the MONITOR MIX bus in a live sound
situation by connecting the output to a power amp and monitor speaker.
AUX 2 OUTPUT
6
The AUX 2 output is used to send a signal to an external signal processor such as a delay or reverb. The
signal present at the AUX 2 output is sent from the AUX2/DSP bus, which is fed from the AUX2/DSP send
on the input channels.
CONTROL ROOM LEFT/RIGHT
7
The Control Room outputs are used to connect a studio monitor system. The Control Room outputs have
the same output as the L/R MIX, however, the level can be adjusted independently from the main mix using
the C ROOM/HEADPHONES control.
8
LEFT/RIGHT MIX
In a live sound application the LEFT/ RIGHT MIX outputs are connected to a power amplifier or powered
speakers. In a recording application, the LEFT/ RIGHT MIX outputs are used to connect a stereo device
such as computer sound card, DAT, or cassette recorder.
9 MONO OUTPUT
The Left and Right Mix outputs are summed together and sent to the MONO output. The level of the Mono
signal can be adjusted using the MONO OUT level control located just below the connector and used to
feed a speaker zone in a fixed installation.
AUX 1 RETURN LEFT/RIGHT
10
11
RET
10
POWER
ON
DESIGNED AND ENGINE
The AUX 1 RETURN LEFT/RIGHT are
stereo inputs that are generally used
to connect the outputs of an effects
processor, but can also accept the sig-
nal from any line level source like a
keyboard, recorder and even another
ON
AUX
1
RET
AUX
2
CAUTIO
RISK OF ELECTRICA
DO NOT OPE
RISQUE DE SHOCK EL
NE PAS OUVR
12
L
R
L
R
AC ADAPTOR
POWER
PHANTOM
MADE IN CHINA
SERIAL NUM
mixer. The signal connected to the AUX 1 RETURN LEFT/RIGHT will feed the main LEFT/RIGHT MIX bus.
The overall level is controlled by the AUX 1 RET knob located in the master section on the front panel.
AUX 2 RETURN LEFT/RIGHT
11
12
The AUX 2 RETURN LEFT/RIGHT are stereo inputs that are generally used to connect the outputs of an
effects processor, but can also accept the signal from any line level source like a keyboard, recorder and
even another mixer. The signal connected to the AUX 2 RETURN LEFT/RIGHT will feed the main
LEFT/RIGHT MIX bus. The overall level is controlled by the AUX 2 RET knob located in the master section
on the front panel.
AC INLET
Connected the supplied Samson AC adapter here. Before connecting the supply, make sure that the MDR8
POWER and PHANTOM POWER switches are in the off position.
11
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Operating the MDR8
BASIC OPERATION
The following section explains the basic operation of the MDR8.
CONNECTING MICROPHONES AND
INSTRUMENTS
1. Before connecting mics or instruments,
make sure that the power of all your sys-
tems components including the MDR8 is
turned off. Also, make sure that the Left
and Right MIX faders are turned all the
way down.
2. Connect the cables to your microphones
and instruments, and insert the other end
of the cable firmly into the appropriate
input on the MDR8.
NOTE: SETTING THE INPUT GAIN - When
connecting a microphone to channels 1
through 4, it’s a good idea to start with the
Gain Control turned all the way down. Set
the input fader to the "0" position and slowly
raise the GAIN control until you see the CLIP
LED turn on. Now, back the GAIN control
down so that the CLIP LED only lights for a
short time during the loudest input the chan-
nel will see.
3. Switch on the power of any peripheral
devices, and then power up the MDR8.
NOTE: It is important to remember the
Golden Rule of audio … " LAST ON, FIRST OFF". Translated, this means that when turning on your system, you
should always turn your power amplifiers or powered monitors on LAST, and when turning your system off, turn
your power amps off FIRST. This helps avoid any loud pops caused by rush current at power up, which can
sometimes damage loudspeakers.
4. Turn on your power amp or powered monitors and raise the level control to the manufacturers'’ recommend-
ed operating level.
5. Set the Left and Right MIX faders in the MDR8’s master section to the "0" position.
6. While speaking into the mic (or playing the instrument), adjust the channel Fader control so that the "0" LED
of the MAIN section peak level meter lights occasionally.
7. You can shape the tone of each channel by adjusting the equalizer controls as desired.
12
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Operating the MDR8
USING THE DIGITAL EFFECTS
The MDR8 features a built-in, high quality, 24 BIT Digital Signal Processor offering studio grade effects. The
DSP features clean Delay, lush Reverbs and multi-effects such as Chorus + Delay or Chorus + Reverb. The fol-
lowing details the operation of the internal DSP effects:
1. Connect a mic or instrument to the desired channel, and adjust the
volume and equalizer to your liking.
2. Now select the desired preset on the DSP selection switch. Set the
DSP selection switch to one of the following effects:
1 - Large Hall
2 - Medium Hall
3 - Large Room
4 - Vocal Room
5 - Vocal Room 2
6 - Chorus + Reverb
7 - Chorus + Delay
8 - Stairwell
4. Once you have selected the desired effect preset, raise the AUX 2/DSP control on the channels you wish to
apply the digital effect to.
5. Now use the AUX/DSP RTN 2 knob in the master section to adjust the effects return level. The EFX control is
the overall level control for the DSP effects processor.
NOTE: If the effect sound is distorted even though the AUX/DSP RTN 2 is turned down low, lower the AUX2/DSP
controls of each channel.
SENDING AN INDEPENDENT MIX TO THE MONITOR SPEAKERS
The MDR8’s AUX1/MON auxiliary send can be used to feed a separate set of amplifiers and loudspeakers for
stage monitors. This lets you build one stereo mix for the amplifiers and speakers facing the audience and the
other mono mix for the amplifiers and monitor speakers facing the musicians.
1. Raise the AUX1/MON controls for the channels that you wish to hear from the monitor speakers.
NOTE: The AUX1/MON controls are "PRE-FADER SENDS" which means they are not affected by the FADER
level settings of each channel. This allows you to create a mix for the monitors that is independent of the main
LEFT and RIGHT MIX.
2. In order to get the most gain from your monitor mix, use an external graphic equalizer like a Samson e31I to
cut out any frequencies that cause feedback.
13
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Operating the MDR8
USING AN EXTERNAL EFFECT
If you prefer to use an external device for effects process-
ing, you can easily connect the unit using the MDR8 EFX
bus disconnecting the internal DSP. Follow the simple
steps below to interface your processor:
1. Connect the AUX 2 OUTPUT to the input of the exter-
nal effect processor.
2. Connect the outputs of the effect processor to the
AUX 2 RETURN located on the MDR8’s rear panel.
3. Set the L/R mix faders to the "0" position.
4. Raise the AUX 2/DSP knobs for the channels to which
you want the external effect to be applied.
5. Set the input level of the external effect so that the
sound is not distorted and so that the effect’s input
meter does not indicate a clipped signal.
6. Use the AUX/DSP RET 2 control to adjust the level of
the effects processed by the external effects device.
PLAYING BACK A CD USING 2TK LEVEL
The MDR8 has a dedicated input for playing back a stereo device such as a CD, Tape or Mini Disk. Below is a
description of how you can play back a CD, Tape or MD using the MDR8’s 2 TRACK INPUT.
1. Turn the 2TK LEVEL control and the LEFT / RIGHT MIX level control all the way down.
2. Press the MIX/2T button down.
3. Adjust the LEFT / RIGHT MIX faders in the master section to the "0" position.
4. Start playback on the CD, Tape or MD player, and use the 2T to MIX control to set the desired level.
RECORDING A MIX FROM THE MDR8
You can record the audio from the MDR8’s mixer section
including the MIC, LINE, TAPE IN and AUX inputs to a
Cassette deck, MD, DAT or any other type of recorder
using the RECORD outputs. Simply connect the MDR8’s
2 TRACK OUT to the input jacks of the recorder as
shown in the diagram on the right and follow the steps
below.
1. Adjust the LEFT / RIGHT MIX faders in the master
section to the "0" position.
2. Set a clean signal using the recorder’s input level
controls and meters.
3. Press RECORD.
4. Play back using as described in the previous section
"PLAYING BACK A CD USING 2T TO MIX".
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Operating the MDR8
Mixing a 2-track with the Stereo Mix
You can mix the 2T IN with the input faders using the Hard Disk Mode. To do this follow these simple steps.
•
•
Connect the 2-track device to the 2T IN input connectors and any mic or line inputs to channels 1-8.
In this mode the C/ROOM+PHONES control will act as your master volume, so for now, turn that all the way
down.
•
•
•
•
•
•
Connect the CR LEFT and RIGHT outputs to your power amp or powered speakers.
Press the HDM switch in the master section so that the yellow LED is illuminated.
Now raise the C/ROOM+PHONES level control up to a bit under 5.
Raise the MASTER FADERS to “O” so you can hear the mix from the input channels 1 – 8.
Now, raise the channel faders and 2TK LEVEL control until you have the mix you want.
Adjust the C/ROOM+PHONES level control to set the desired final level.
Using The HDM (HARD DISK MODE)
The MDR8 includes an exclusive HDM (HARD DISK MODE)
that has been designed to interface with computer based
hard disk recorders. Never before have such flexible routing
and monitoring been included in such a small mixer. The
HDM provides a seamless solution for recording and over-
dubbing on a hard disk recorder by providing a special
record bus plus unique monitoring to solve latency problems.
When you are working with the mixer configured to HDM, the
MDR8 engages the RECORD bus and a special 2-Track lis-
tening mode. When engaged, the HDM allows you to assign
any of the channels to the RECORD bus. In this mode, the
2Track output (located in the Master section) is now out-
putting the mix from the RECORD bus. While in HDM you
can still mix in the 2Track return, however, it will not be
recorded since it is not sent to the RECORD (2Track Out) bus. Therefore, if your
hard disk recorder is connected to the 2Track Inputs and Outputs, you can listen to
the output of the hard disk recorder while listening to the MDR8 input channels. By
listening to the tracks that you are recording directly from the input faders, you avoid
having to loop back the track you are recording, thereby eliminating latency delays.
Follow the examples below to use the HDM.
Set the MDR8 inputs fader all the way down and the L & R MIX faders to the “0”
position. For this example, we’ll first record a rhythm track sequence from a MIDI
keyboard (any stereo track will do), then do an overdub. If you are using an import-
ed loop or internal sequencer, skip the Recording section and go on to the Overdub
section.
Recording Using HDM
1. Connect the output from your computer sound card to the MDR8’s 2Track In
and then connect the MDR8’s 2Track Output to the input of the sound card.
2. Connect the outputs from a MIDI keyboard to the stereo inputs channels 7/8.
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Operating the MDR8
Using The HDM (HARD DISK MODE) Continued
3. Engage the HDM switch in the Master Section. The input channel’s REC LED will light dimly indicating the
channel can be assigned to the RECORD bus.
4. Press the RECORD switch on the MDR8’s channel 7/8. The input channel’s REC LED will flash indicating the
channel is assigned to the RECORD bus.
5. Raise the channel 7/8 fader to the nominal area (0).
6. Now, test your listening level by starting the MIDI sequencer and slowly raising the Control Room output level
until you have set a comfortable listening level. If the sound is too low, raise the output level of your key-
board. If the sound is distorted, lower the output level of your keyboard.
7. Select the record enable on the tracks you are recording to on your hard disk recorder and set a level as
described in your software manual.
8. Press REC/PLAY on your recorder and play on the MIDI sequencer.
Overdubbing Using HDM
Now that you have recorded a basic rhythm track you can overdub additional tracks
using MDR8’s HDM. For this example, we’ll overdub a vocal track using a microphone.
Follow the steps below.
1. Connect the output from your computer sound card to the MDR8’s 2Track In and
then connect the MDR8’s 2Track Output to the input of the sound card.
2. Connect a microphone to the MDR’8s Channel 1 microphone input and set a proper
level using the GAIN control and peak LED.
3. Engage the HDM switch. The input Channel’s REC LED will light dimly indicating
the channel can be assigned to the RECORD bus.
4. Press the RECORD switch on the MDR8’s channel 1. The input channel’s REC
LED will flash indicating the channel is assigned to the RECORD bus.
5. Raise the Channel 1 fader to the nominal area (0).
6. Now, test your listening level by pressing PLAY on your hard disk recorder and by
slowly raising the 2TK LEVEL control until you have set a comfortable listening
level. Use the 2TK LEVEL and CONTROL ROOM/HEADPHONE level controls to
set a good balance between the hard disk recorder and the input.
7. Select the record enable on the track you are recording to on your hard disk recorder and set a level as
described in your software manual.
8. Press REC/PLAY on your hard disk recorder and record your vocal track.
NOTE: The RECORD bus is stereo, therefore the input channels PAN and BALANCE controls will determine how
much signal is sent to the LEFT or RIGHT 2 TRACK output. If you want an input channel’s signal to send only to
the LEFT RECORD bus, then set the PAN control all the way to the left. If you want an input channels signal to
send only to the RIGHT RECORD bus, then set the PAN control all the way to the right.
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MDR8 System Set-Ups
MDR8 LIVE SOUND SET-UP
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MDR8 System Set-Ups
MDR8 RECORDING SET-UP
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MDR8 Wiring Guide
CONNECTING THE MDR8
The are several ways to interface the MDR8 to support a variety of applications. The MDR8 features balanced
inputs and outputs, so connecting balanced and unbalanced signals is possible.
Unbalanced 1/4” Connector
Balanced TRS 1/4” Connector
XLR Balanced Wiring Guide
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MDR8 Specifications
Frequency Response (Trim @ Min, unity gain 3 dB)
Mic to Main
Line to Main
Aux Return to Main
Line to Aux Send
5 Hz - 54 kHz
5 Hz - 54 kHz
5 Hz - 98 kHz
5 Hz - 57 kHz
T.H.D. (Trim @ Min, +4dBu output, unity gain, 1 kHz w/30 kHz LPF)
Mic/Line to Main (Mono Ch)
0.02%
0.02%
0.02%
Line to Main (Stereo Ch)
Line to Aux Send
Equivalent Input Noise ("A" filter on, input shorted)
Mic
Line
-128 dB
-104 dB
Maximum Voltage Gain
Mic to Main
74 dB
56 dB
34 dB
20 dB
74 dB
34 dB
Line to Main (Mono Ch)
Line/Tape to Main (Stereo Ch)
Aux Return to Main
Mic to Aux Send
Line to Aux Send (Stereo Ch)
Residual Noise (30 kHz LPF, all control Min)
Main
Aux Send
-89 dBu
-86 dBu
Crosstalk (@ 1 kHz w/ 30 kHz LPF)
Ch vs. Ch
75 dB
Input vs. Output
87.5 dB
Peak LED Sensitivity (before clipping)
CLIP Indicators
5 dB
Turn on: THD> 0.1%
Headphone output (600 ohm load)
100 mW
Maximum Input Level (1 kHz, 3dB)
Mic Input (Mono Ch)
10.5 dBu
7.6 dBu
Line Input (Stereo Ch)
Input Channel Equalizer ( 2dB)
High (shelving)
12 kHz 15 dB
2.5 kHz 15 dB
80 Hz 15 dB
Mid (peaking)
Low (shelving)
Meters
6 POINT LED METERS (-20, -12, -6, 0,
+6dB and PEAK)
Internal DSP Effects
24 BIT -8 presets: 1 - Large Hall; 2 Medium
Hall, 3 - Large Room; 4 - Vocal Room 1; 5 -
Vocal Room 2; 6 - Chorus + Reverb; 7 -
Chorus + Delay; 8 - Stairwell
Phantom Power
+48V
Power Requirement
Power Consumption
110V-240V, 50/60Hz
24W
Dimensions (W x D x H)
11 1/2" x 11 1/2" x 3 1/2"
292mm x 292mm x 89mm
6.3 lbs. (2.9 Kg)
Weight
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Block Diagram
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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
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