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j. The procedure for setting optimum microphone levels is virtually identical; sing
or speak into the mic at the level you expect to use in performance while slowly
raising the Level control for that channel to its “0” position. Then adjust the input
Trim control for that channel while watching the segment meter and Peak LED.
You should expect that microphone inputs will require rather more in the way of
input Trim boost than line inputs.
k. The general idea behind using the internal DSP is to drive it as hot as
possible (short of overloading it) and to then use the DSP Mix Level control to
carefully set the amount of processed signal you want to hear. Begin by
selecting Preset 1, Effect 1 (this is a general Hall reverb) for the DSP—the
DSP Mix Level control should still be at its fully counterclockwise “∞” position, as
specified in step (d) above. Using a channel that has already had its gain
structure adjusted in step (g) or (j) above, turn the DSP / Aux 2 knob for that
channel to its fully counterclockwise “DSP” position. Play the instrument (or sing
into the microphone) connected to that channel while slowly turning the DSP Mix
Level knob clockwise until you hear the desired amount of processed signal
added to the dry signal. If you hear any distortion, lower the amount of signal
being sent to the DSP by turning that channel’s DSP / Aux 2 knob clockwise
(towards its center detented “off” position. For more information, see the “Using
the Internal Digital Signal Processor” section on page 20 in this manual.
l. If you have any outboard signal processors connected to the Aux send jacks
on the rear panel, follow this step. Because outboard effects processors can
sometimes be quite noisy, it’s particularly important to maximize the amount of
signal being sent to them via the SD8 Aux sends. As with the internal DSP, the
idea is to drive these devices as hot as possible (short of overloading them) and
then to use the Aux return Level to carefully adjust the amount of processed
signal being blended with the dry signal. To set optimum Aux send levels, use a
channel that has already had its gain structure adjusted in step (g) or (j) above.
Turn the Aux send 1 / Monitor knob for that channel to its “0” (unity gain) position
and then play the instrument (or sing into the microphone) connected to that
channel. Adjust the input levels of connected outboard effects processors so
that their meter shows incoming signal normally in the 0 vu range (with just
occasional higher excursions). Then it’s time to optimize the Aux return Level.
While continuing to play your instrument (or continuing to sing into the
microphone), slowly raise the Aux return Level control until you hear the desired
amount of processed signal added to the dry signal. Repeat for any external
device connected to the Aux 2 send jack. For more information, see the “Using
the Aux Sends and Returns” section on page 19 in this manual.
m. The gain structure is now correctly set—you’ve optimized the level of all
signals coming into and out of the SD8, and the end result will be minimum
noise and distortion and maximum clean sound. You’ll now find that the majority
of your mixes can be accomplished with most channel Level controls at or near
their 0 (unity gain) position and that the channel peak LEDs rarely if ever light
(remember, if they do light, it means that something is distorting!). If you need to
make adjustments to the overall level, use the main Level control.
If you encounter difficulty with any aspect of setting up or using your SD8, you
can call Samson Technical Support (1-800-372-6766) between 9 AM and 5 PM
EST.
Setting the Correct Gain Structure
