Ashly LIMITER/COMPRESSORS CL-100 Panduan Pemilik - Halaman 12
Jelajahi secara online atau unduh pdf Panduan Pemilik untuk Peralatan Musik Ashly LIMITER/COMPRESSORS CL-100. Ashly LIMITER/COMPRESSORS CL-100 18 halaman. Limiter/compressors
Juga untuk Ashly LIMITER/COMPRESSORS CL-100: Panduan Pemilik (18 halaman)
Halaman CetakInstalling the CL-50E for use in a sound system with a passive crossover.
Since speaker diaphragms are subject to the laws of physics, they won't
take this kind of punishment for long. The diaphragm may shatter, or its
voice coil may overheat. In addition to the damage caused by sustained
overload, the speaker may also be damaged by occasional, one-shot high level
overload, for example, the sound of a microphone falling face-first onto a hard
floor. Even if this type of transient doesn't destroy a speaker outright, it may
damage the speaker surround in such a way as to cause mechanical abrasion
and future failure.
Alternatives For Sound System Installations
To install the CL unit in a sound system using a passive crossover,
insert it between your mixing console output and the power amplifier input.
For systems using electronic crossovers, there are two ways to use an Ashly
limiter. It may be inserted between the console output and the crossover
input, in which case it will act on the entire audio frequency spectrum.
Alternately, if the limiter is inserted between an output of the electronic
crossover and the input of a power amp, it will only affect a specific band
of frequencies.
The CL-50E in a biamplified system.
Compression For Feedback Control
A common ritual in sound system set-up is equalizing the room to
remove feedback. This is generally accomplished by turning up system gain
to purposely induce feedback, searching for the center frequency of the
feedback, and then equalizing at that frequency to remove the feedback.
Once this frequency has been cut, system gain is again increased to induce
another feedback point, and the whole procedure is repeated until the
engineer is satisfied that the significant problem frequencies have been
corrected. The major problem with this approach is that the feedback can
easily get out of control, and the engineer ends up dashing back and forth
between the mixer volume controls and the equalizer controls, while
everyone in the room plugs their ears and prays it will end soon. Products in
the Ashly CL-SERIES can turn this procedure into a fast, painless job,
eliminating loud feedback levels and the possibility of speaker or ear damage.
Procedure
1. Set up the CL unit's controls as follows:
a. OUTPUT level control to -20 dB.
6. Input GAIN control to maximum.
c. RATIO control to infinity (09).
d. ATTACK time to 5 ms.
e. RELEASE time to 1 sec.
f. LIMIT IN/OUT switch IN.