Setting Up And Using The Synth Series 6 System - Samson SYNTH SIX Manual Del Propietário

Setting Up and Using the Synth Series 6 System

The basic procedure for setting up and using your Synth Series 6 UHF Wireless System takes only a few
minutes:
1. Remove all packing materials (save them in case of need for future service) and locate the UR6D
receiver so that there is an unobstructed line of sight between it and the transmitters in your system
(however, be sure that the transmitters never come within 10 feet of the receiver antennas).
For convenience and portability, the UR6D is rack-mountable, requiring just a single space. Mount the
supplied "A" and "B" dipole antennas to the UR6D by inserting the BNC connectors and twisting
clockwise until snug (if you are using optional AN-81A or AN-82 remote powered antennas, or a DA6
antenna distribution amplifier, connect their RF output cables to these mountings). The antenna
mountings are adjustable; however, it is best to begin with them in an upright position.
INPUT
SAMSON
UHF SYNTHESIZED WIRELESS TRANSMITTER
2. If you are using the UT6 beltpack transmitter, press its battery cover release in order to open the
battery compartment; if you are using a UH6 handheld microphone transmitter, unscrew the bottom to
access the battery compartment. Place two fresh AA alkaline batteries (not supplied) into the transmitter,
taking care to observe the polarity markings. For the moment, leave the transmitter turned off.
3. On the UR6D rear panel, set the output mixing switch as desired (when on, the outputs from both
receivers are mixed together into a single monophonic signal) and set both receiver's antenna attenuation
switches to their center "0 dB" position. Next, set the audio output level switches for each receiver as
required (use the -20 dB setting if you will be connecting the corresponding audio output to line level
inputs on your mixer or amplifier and the -60 dB setting if you will be connecting the corresponding audio
output to mic level inputs on your mixer or amplifier). You can quickly check all UR6D rear panel settings
by using the procedure described in the "UR6D System Settings" section on page 9 in this manual.
4. Make the physical cable connections between the output of your UR6D receiver (using either the
balanced or unbalanced jacks)* and a mic or line level input of your amplifier or mixer. If you are using
professional (+4) equipment, the balanced jack is preferable since it will deliver an electromagnetically
cleaner signal. Leave your amplifier (and/or mixer) off at this time.Connect the supplied 3-pin "IEC" plug
into the UR6D rear panel AC connector and plug the other end into any 3-pin grounded AC socket.
5. Turn both AF Level knobs on the UR6D receiver completely counterclockwise (to the "0" position) and
depress the front panel power switch to turn the unit on. The display section will light up.
* If required, both the balanced and unbalanced outputs can be used simultaneously.
1a. If you are using the UT6 beltpack transmitter, place its rotary antenna into the
upright position and then make the physical connection between its 6-pin plug and
the lavalier microphone, headset microphone or instrument cable you are using
(be sure to correctly set the "Inst./Mic" switch). Because the 6-pin plug is
"keyed," you'll need to rotate it a certain way to get it to "mate" with the connector
mounted on the UT6; then push straight down until you hear a click. To remove the
6-pin connector, lift up the outer sleeve and pull straight out (do not use force!). We
recommend that you never pull on the wire, only the plug itself (with the outer sleeve
lifted). If you are using a lavalier microphone, correct placement is critical to sound
quality. We recommend that you position it as shown in the illustration on the left—
as close to your mouth as possible but off to one side (to minimize nasality) and
unobstructed by clothing. Bear in mind also that omni-directional microphones (mics
OPEN
which pick up signal from all directions) are more prone to feedback problems than
unidirectional (cardioid or supercardioid) ones; in general, you can avoid feedback by
taking care not to use any microphone directly in front of a PA speaker (if this is
unavoidable, you can try using an equalizer to attenuate those high frequencies
which are causing the feedback "squealing").
12