Samson PL2404 - Manual (Page 9)

7
Guided Tour - Main Section
5: Meter - This ten-segment bar meter shows the continuous output level of the
Main left/right output. For optimum signal-to-noise ratio, try to adjust all levels so
that program material is usually at or around 0 VU, with occasional but not
steady excursions to the red “+” segments. See the “Setting the Correct Gain
Structure” section on page 13 in this manual for more information.
6: Meter LEDs - These show the status of various conditions within the
PL 2404. The leftmost LED (labeled “PFL”) lights steadily green when the
PL 2404 is in PFL mode (see #7 below). The center LED (labeled “AFL”) lights
steadily red when the PL 2404 is in AFL mode (see #7 below). The rightmost
LED (labeled “Power”) lights steadily red whenever the PL 2404 is powered on.
7: PFL/AFL switch - This determines whether the PL 2404 is in PFL mode
(switch up) or AFL mode (switch pressed in). For more information, see the
“Using PFL/AFL” section on page 22 in this manual.
8: Solo/Main switch - This switch affects headphone monitoring only. When
the switch is up (Solo mode), the headphones receive signal from only those
channels whose Solo switches are currently pressed in; when the switch is
pressed in (Main mode), the headphones always receive the Main output
regardless of the settings of any channel Solo switches. For more information,
see #3 on page 4 and the “Using PFL/AFL” section on page 22.
9: Main Level - This knob determines the final signal level of the rear panel
Main output—you can think of this as being the “master fader.” The 2 o’clock “0”
position of the knob indicates unity gain (no level attenuation or boost). Moving
the knob counterclockwise from the “0” position (towards “
∞”) causes the signal
to be attenuated (at the very bottom, it is attenuated infinitely—in other words,
there is no sound). Moving it clockwise from the “0” position (towards “+10”)
causes the signal to be boosted by up to 10 dB. For more information, see the
“Setting The Correct Gain Structure” section on page 13 in this manual.
10: Control Room Level - This knob determines the signal level of the rear
panel Control Room output, allowing independent monitoring of the Main output
signal. The 2 o’clock “0” position of the knob indicates unity gain (no level
attenuation or boost). Moving the knob counterclockwise from the “0” position
(towards “
∞”) causes the signal to be attenuated (at the very bottom, it is attenu-
ated infinitely—in other words, there is no sound). Moving it clockwise from the
“0” position (towards “+10”) causes the signal to be boosted by up to 10 dB.
11: Bus L/R switches - These switches allow you to route the output from any
of the four buses to the Main left/right output jacks and Control Room left/right
output jacks on the rear panel (see #5 and #6 on page 8). When up, the signal
from that bus is not routed to the main outputs and terminates at its Bus out jack
(see #4 on page 8). When pressed in, the signal from that bus is routed to the
main outputs as well as its Bus out jack.
12: Bus Faders (white with blue line) - These linear sliders determine the
relative level of the four bus outputs. The “0” position of each fader indicates
unity gain (no level boost or attenuation). Moving the fader below this position
(towards the “
∞” position) causes the signal to be attenuated (at the very bottom,
it is attenuated infinitely—in other words, there is no sound). Moving it above
this position (towards the “+10 dB” position) causes the signal to be boosted by
up to 10 dB. For best signal-to-noise ratio, all Bus faders should generally be
kept at or near the 0 level. For more information, see the “Setting The Correct
Gain Structure” section on page 13 in this manual .