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Summary of Contents for MPL 1502

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Page 2: ...g the MPL 1502 13 Setting the Correct Gain Structure 14 Grounding Techniques 16 Using Pan Balance 18 Using Equalization 19 Using Aux Sends and Returns 20 Using Channel Inserts 21 Applications Notes 22 Using The MPL 1502 As A Main Live Mixer 22 Using The MPL 1502 As A Monitor Mixer 23 Using The MPL 1502 As A Keyboard Submixer 24 Using The MPL 1502 For Recording 25 Specifications 26 ...

Page 3: ... 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 its original carton and packing materials MPL 1502 System Features MPL stands for Microphone Program Line and the name describes the broad range of signals which can be handled by this powerful stereo mixer In fact the compact design of the M...

Page 4: ...ipment Center detents for all gain pan balance and EQ controls making it easy to use the MPL 1502 even in low light situations such as live performance Peak input LEDs for each channel showing you when an input signal is overloading or near overloading these illuminate 5 dB prior to distortion The provision of 48v phantom power makes it possible to plug high quality condenser microphones directly ...

Page 5: ...GH 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 20 AUX 1 LEVEL 0 R L BALANCE R L BALANCE 20 AUX 2 LEVEL 0 C...

Page 6: ...nels it determines the input level of both the left and right inputs Continuously adjustable from 4 dB to 50 dB for mono channels or 4 dB to 30 dB for stereo channels the input trim is at unity gain no boost or cut when set to the 0 9 o clock position The input signal is boosted when the trim is turned to the right of 0 and attenuated when turned to the left of 0 For information on how to properly...

Page 7: ... more information see the Using Pan Balance section on page 18 8 Peak LED red This warning light indicates an overload situation It lights whenever a channel s signal is 5 dB short of clipping To stop it from lighting and eliminate the accompanying sonic distortion turn down the channel s Trim knob see 3 above or reduce the amount of equalization boost See the Setting the Correct Gain Structure an...

Page 8: ...ar Panel section on page 8 for more information The right LED labeled Power lights steadily red when the MPL 1502 is powered on 3 Tape In Channel 14 15 switch When pressed in the on position the signal arriving at the rear panel tape inputs is automatically routed to stereo channel 14 15 with the signal connected to the channel 14 15 line inputs disconnected and the channel 14 15 Trim control made...

Page 9: ...nd Returns section on page 20 for more information When only the left input of an Aux return is connected its Balance knob functions as a constant level Pan control allowing you to continuously place the incoming signal anywhere in the left right stereo field 6 Headphone Level blue This knob sets the level of the signal sent to the headphone jack see 7 below WARNING To avoid possible damage to con...

Page 10: ...wer We cannot assume responsibility if you damage a mic by incorrectly applying MPL 1502 phantom power If you re not sure that one or more connected mics require 48 volts phantom power leave this switch OFF 3 AC input Connect the supplied standard 3 pin EEC plug here 4 Voltage selector Set this to the left 115 V position for operation in the United States and Canada Set this to the right 230 V pos...

Page 11: ...l Tape In Channel 14 15 switch is pressed in the input signal connected here appears at stereo channel 14 15 at unity gain during this operation the channel 14 15 trim control has no effect From there it can be equalized if necessary and routed to either or both Aux sends The tape output signal is a duplicate of the Main output at unity gain See the section in this manual entitled Guided Tour MPL ...

Page 12: ... generally provide a cleaner signal Although the MPL 1502 will accept unbalanced connectors throughout it specifically provides electronically balanced inputs for all mono line inputs channels 1 5 and for its main outputs The wiring diagram below shows how 1 4 TRS Tip Ring Sleeve connectors should be wired for use with these inputs and outputs Unbalanced cables use standard 1 4 phone connectors wi...

Page 13: ...right inputs If you re using the MPL 1502 in live performance to drive a mono PA system you may not need to take the stereo returns from outboard effects processors When connecting only one monophonic signal to a stereo channel always use the left even numbered input When only the left input is connected in a stereo channel the MPL 1502 treats that channel as if it is a mono channel and the signal...

Page 14: ...ng should be connected to channels 1 5 since these channels provide an insert connection Insert cables sometimes called Y cords should terminate in standard 1 4 TRS jacks ring to send and tip to return wired as follows 12 Connecting The MPL 1502 General Suggestions TIP RETURN GROUND RING SEND RING TIP SLEEVE ...

Page 15: ...fier that is not connected to loud speakers 3 Next make the signal input connections to the mic or line inputs of the vari ous channels WARNING Do not connect a channel s line input if you already have something connected to its microphone input or vice versa each channel is designed to accept only one source or the other 4 Turn all channel trim and gain controls as well as the Main gain control f...

Page 16: ...denser microphones are connected to the MPL 1502 turn on the rear panel Phantom switch Then turn on the MPL s rear panel Power switch the Power LED in the meter section will light up Finally turn on the power amplifier g Play an instrument connected to one of the MPL 1502 s line inputs and while doing so slowly raise the corresponding channel gain control to the center detented 0 position you shou...

Page 17: ...urn both Aux send knobs for that channel to their 0 unity gain position and then play the instrument or sing into the microphone connected to that channel Adjust the input levels of connected outboard effects processors so that their meter shows incoming signal normally in the 0 vu range with only occasional higher excursions Then it s time to optimize the Aux return levels While continuing to pla...

Page 18: ...xpense Three prong plugs such as the one used by the MPL 1502 should always be used as is don t use adapters to lift the ground unless you re using a star ground network see below If you hear hum or buzz from a device that uses a two prong plug or an external two prong AC DC adapter you can try revers ing the plug in the socket If that doesn t work you may need to physically ground that device s c...

Page 19: ...hree prong AC connectors so there is the possibility of danger if it is done incor rectly We strongly recommend that you contract with a qualified professional to carry out this or any kind of electrical work Another less common problem you may encounter is that of oscillation a ringing tone which apart from being annoying is potentially dangerous to your speakers This is generally caused either b...

Page 20: ...ted position both the even numbered and odd numbered channels are at equal strength When moved left of center the signal of the even numbered channel remains the same but the signal of the odd numbered channel is attenu ated when the knob is moved right of center the the signal of the odd numbered channel remains the same but the signal of the even numbered channel is atten uated When placed fully...

Page 21: ...e affected In most instances the best way to approach equalization is to think in terms of which frequency areas you need to attenuate as opposed to which ones you need to boost boosting a frequency area also has the effect of boosting the overall signal too much EQ boost can actually cause overload with the accompanying Peak LED warning Be aware of the phenomenon of masking where loud sounds in o...

Page 22: ...r in stereo pairs or monophonically many popular effects processors provide a single mono input but have two stereo outputs In practice you ll probably want to use the Auxiliary returns to bring in signal from connected effects processors If the effects processors have stereo outputs they should be connected to both the left and right Auxiliary return inputs so that their stereo integrity is retai...

Page 23: ...ar panel accept 1 4 TRS plugs with the ring carrying the send signal and the tip carrying the return signal this will normally be connected to a Y cord see the Connecting The MPL 1502 section in this manual for a wiring diagram This configuration is sometimes known as an effects loop since the signal is sent and returned over the same cable If nothing is plugged into the channel insert jacks they ...

Page 24: ...TING 0 3A 250V 115V 0 15A 250V 230V 115 230V 50 60Hz 23W SAMSON TAPE OUT 600Ω 4dΒ L R 1 2 3 15 1 2 3 1 2 3 1 2 3 1 2 3 15 20 10 6 2 0 2 6 20 10 6 2 0 2 6 15 CHANNEL STEREO MIXER MPL 1502 MPL 1502 15 CHANNEL STEREO MIXER SAMSON 1 2 3 4 6 7 5 8 9 10 11 12 13 14 15 LEFT MONO LEFT MONO LEFT MONO LEFT MONO LEFT MONO MIC INPUT BALANCED 50dB TO 4dB LINE INPUT BALANCED 10KΩ 40dB TO 4dB RIGHT RIGHT RIGHT R...

Page 25: ...AIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 PEAK PAN L R PEAK PAN L R PEAK PAN L R PEAK PAN L R PEAK PAN L R PEAK BALANCE L R PEAK BALANCE L R PEAK BALANCE L R PEAK BALANCE L R PEAK BALANCE L R AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 0 0 0 0 0 0 0 0 0 0 15db 0 15db 0 15db 15db 15db 15db 0 15db 15db 0 SAM...

Page 26: ...0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 GAIN 0 15 PEAK PAN L R PEAK PAN L R PEAK PAN L R PEAK PAN L R PEAK PAN L R PEAK BALANCE L R PEAK BALANCE L R PEAK BALANCE L R PEAK BALANCE L R PEAK BALANCE L R AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 AUX 2 10 0 0 0 0 0 0 0 0 0 0 0 0 0 15 db 0 12 12 10 0 4 30 0 15 15...

Page 27: ...IGH 15 15 0 HIGH 15 15 0 HIGH 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 MID 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 LOW 15 15 0 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 10 AUX 1 20 AUX 1 LEVEL 0 R L BALANCE R L...

Page 28: ...m Input Level Ch 1 Ch 5 Mic input 17 dB Ch 1 Ch 15 Line input 27 dB 6 Trim gain range 0 dB to 54 dB 7 Channel fader range 15 dB to 80 dB 8 Aux send gain range 10 dB to 75 dB 9 Crosstalk Ch to Ch 1 kHz 80 dB Stereo Ch L R 1 kHz 65 dB 10 Standard Output Level Main Out 4 dBV balanced 600 Ω loaded Aux Out 4 dBV unbalanced 2 2 kΩ loaded Headphones 150 mW 30 Ω loaded 11 Maximum Output Main Out 22 dBV ba...

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