Ashly LIMITER/COMPRESSORS CL-100 Benutzerhandbuch - Seite 13
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Seite drucken2. Adjust equalizer controls to a flat setting, and if the equalizer has an
overall volume control, boost it by 10 to 15 dB.
3. Open up several microphone input channels to a normal operating
level, with typical EQ settings, and turn the console master fader up
to a louder than normal setting. At this point, the system should be
well into feedback, but the room volume will remain constant due to
the action of the limiter. You can listen to the feedback at any level you
like
by simply varying
the CL-50E's OUTPUT volume control,
although below
a certain monitoring level, the feedback will stop.
4. Try to determine the feedback frequency, and then equalize it by
adjusting
the center frequency, bandwidth,
and boost /cut controls of
your parametric equalizer. (Note: a graphic equalizer can also be used,
with less accuracy.)
After eliminating the problem frequency, try to
further define it by sharpening up the bandwidth, reattacking the
frequency control, and making the cut shallower, if possible.
5. As soon as the first feedback frequency has been removed, the Ashly
CL unit will automatically bring up system gain until another
feedback point is induced. Repeat the equalization procedure until
it becomes impossible to distinguish individual, predominant
feedback frequencies.
6. Return all mixer, EQ overall gain, and compressor /limiter gain
controls
to normal settings.
Recording
The Ashly limiter can be used to prevent saturation of magnetic
recording tape and to control tape hiss. In professional
recording studios, the
saturation level of the tape, system headroom, and the output level of the
console are all known quantities, making the application of limiting and
compression very easy.
The CL-50E used to prevent tape saturation
and improve S/N ratio.
An example of the use of limiting to prevent tape saturation and improve
signal-to-noise performance was given in the earlier discussion of the RATIO
control. By shifting the input GAIN upward, further compression and
improved signal-to-noise can be achieved, at the expense of dynamic range.
De-Essing
A special type of saturation problem often encountered
in recording is
the sibilant (Ssss) sound of the human voice. High-frequency, sibilant sounds
can reach very high energy levels, so that a voice that is otherwise
undistorted breaks up on the esses, producing a raspy, undesirable sound.
With
the current trend toward crisp, bright equalization of vocal tracks, the
problem is magnified. Add to that the inherent tendency of magnetic tape to
saturate earlier at high frequencies and the internal high-frequency boost
(record pre-emphasis) of a standard tape recorder, and the need to control
sibilants becomes apparent.
The solution is frequency-dependent limiting, which is easily
accomplished with the CL-SERIES. By inserting an equalizer into the
Detector Patch points and boosting the equalizer at high frequencies in the