Ashly CLX-52 Betriebshandbuch - Seite 8

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Auch für Ashly CLX-52: Technische Hinweise & Spezifikationen (2 seiten), Technische Hinweise & Spezifikationen (2 seiten), Betriebshandbuch (12 seiten)

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Page - 8

Introduction - 4

Typical Applications

GQX Equalizers – 5

Connectors & Cables – 5

Physical Description - 6

Installation – 7

Typical Applications - 8

Protective Device

Recording

De-Essing

Instrument Texture

De-Essing

Troubleshooting - 9

Dimensions - 9

Specifications - 10

Warranty - 11

The applications of the Ashly CLX-52 can be divided into two basic categories, limiting

and compressing. When used as a protective device, it is functioning as a Limiter. It may

also be used to reduce the dynamic range of a signal, creating a fuller sounding signal

without increasing the loudness peaks, in which case it is functioning as a compressor.

The CLX-52 As A Protective Device

The CLX-52 provides fast and accurate gain control for the prevention of sound system

overload due to unexpected transients. Sustained distortion caused by amplifiers running

out of power or occasional, one-shot high level overload (a microphone falling onto a

hardwood floor) can damage speakers and other system components. The CLX-52 can be

installed in several locations in a sound system to achieve specific goals:

CLX-52 Signal Path Location

After the mixer and before the

Crossover and amplifier(s)

After and active crossover and

before the amplifier(s)

After a parametric EQ and

before the amplifier(s)

Recording

The CLX-52 limiter can be used to prevent input overload (clipping/distortion) in a live

recording environment. To prevent distortion while preserving dynamic range, set the

CLX-52 as follows: Gain = 0, Threshold = 2-3 dB below recorder input max, Ratio = 10,

Attack = 2 mS, Release = .2 Sec, Output = 0. Every situation is different, so

experimentation before final recording is always a good idea.

De-Essing

A special type of saturation problem often encountered in recording is the sibilant (Ssss)

sound of the human voice. The solution is frequency-dependent limiting, which is easily

accomplished with the CLX-52. By inserting an equalizer into the Detector Patch point

and boosting the equalizer at high frequencies in the vicinity of the sibilant, the limiter's

detector circuit becomes more sensitive to this particular range of frequencies, and so will

limit the bothersome sibilants more than other frequencies.

Altering Instrument Texture

Compression can be used to help bring out a lead vocal or instrumental solo in a cluttered

mix. The compressor is also a great corrective tool when working with singers whose own

dynamic control is less than perfect. Experimentation is highly recommended.

Voice-Over Compression (Ducking)

The CLX-52 can be used to reduce music to a background level when an announcer is

speaking. The detector is connected to respond only to an announcer's voice.

Stereo Operation

On the CLX-52, pressing the Stereo Tie switch combines the detector outputs so that the

loudest channel controls the limiter action of the other channel. This allows true stereo

imaging to be preserved regardless of which channel is in gain reduction.

Operator Manual – CLX-52 Compressor/Limiter

Effect

Compression and Limiting acts on the entire signal, preventing crossover and amplifier

overload and maximizing the dynamic performance of both.

Compression and Limiting acts on each segment of the signal (to which a CLX-52

channel is connected) coming from the crossover, allowing for different settings in each

crossover output.

This setup is typically used to control feedback. By using the parametric EQ as a multi-

point notch filter on the feedback frequencies and the CLX-52 to limit those

frequencies, an accurate and automatic feedback control can be imposed on a system.