Samson MPL 1502 User Manual

Connecting The MPL 1502 - General Suggestions
The actual connections you’ll make to and from the MPL 1502 will vary accord-
ing to the environment you use it in and the particular equipment you have.
In the “MPL 1502 Applications” sections at the rear of this manual, you’ll find
some suggested setups. Here are a few basic rules concerning MPL 1502
connections that will apply in most situations:
• In general, it’s best to make all connections with the MPL 1502 and any
connected power amplifiers turned off. If you must make connections with
the power on, make sure that the Main gain control is completely down (turn
the knob fully counterclockwise). Whenever powering down, turn the Main
gain control completely down and turn off the main power amps
first. Wait a
few seconds for their power supplies to discharge and then turn off all
connected equipment, turning the MPL 1502 off last.
• Try to use balanced connectors and cabling wherever possible. These kind
of connections do a better job of rejecting extraneous noise and hum and
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, wired as follows:
• Make one connection at a time and then monitor the incoming signal. If you
hear a distinct hum or buzz, you may have a grounding problem with that
particular device. See the section in this manual entitled “Grounding
Techniques” for information on how to avoid grounding problems.
• NEVER connect a microphone and line level input to the same channel
simultaneously—use one or the other. You can have some channels
connected to microphones and others to line level signals (for example, you
might want to plug mics into channels 1 - 3 and line level signals into the
remaining channels)—just don’t have both kinds of inputs connected to the
same channel. The diagram below shows how your mic connectors should
be wired:
10
TIP +
GROUND
RING -
RING
TIP
SLEEVE
+ SIGNAL
GROUND
+ SIGNAL
GROUND
3 - SIGNAL
1 GROUND
2 + SIGNAL
TO MIXER

Samson MPL 1502 Specifications

Audio Specifications

frequency response	17 Hz to 30 kHz ± 1.5 dB at +4 dB
equivalent input noise channel 1-5 mic input	-128 dB (A filter, 150 Ω shorted)
equivalent input noise channel 1-15 line input	-131 dB (A filter, input shorted)
total harmonic distortion + noise	Less than 0.03 %
input level channel 1-5 mic input	-50 dBV to +4 dB (10 kΩ, balanced XLR)
input level channel 1-15 line input	-40 dBV to +14 dB (10 kΩ, balanced stereo phone jack)
input level aux return 1-2	+4 dB (47 kΩ, unbalanced phone jack)
maximum input level channel 1-5 mic input	+17 dB
maximum input level channel 1-15 line input	+27 dB
trim gain range	0 dB to +54 dB
channel fader range	+15 dB to -80 dB
aux send gain range	+10 dB to -75 dB
crosstalk ch-to-ch (1 kHz)	-80 dB
crosstalk stereo ch L/R (1 kHz)	-65 dB
standard output level main out	+4 dBV (balanced, 600 Ω loaded)
standard output level aux out	+4 dBV (unbalanced, 2.2 kΩ loaded)
standard output level headphones	150 mW (30 Ω loaded)
maximum output main out	+22 dBV (balanced, 600 Ω loaded)
maximum output aux out	+22 dBV (unbalanced, 2.2 kΩ loaded)
maximum output tape out	+22 dBV (unbalanced, 600 Ω loaded)
tone control high	10 kHz ± 15 dB
tone control mid	800 Hz ± 12 dB
tone control low	80 Hz ± 15 dB

Weight and Dimensions

dimensions	13.8 in (w) x 10.4 in (d) x 3.2 in (h)
dimensions metric	350 mm (w) x 264 mm (d) x 82 mm (h)
weight	7.7 lbs • 3.5 kg