Ashly LIMITER/COMPRESSORS CL-100 Panduan Pemilik - Halaman 6

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INITIAL SETUP AND CHECKOUT

1. Begin by turning the crossover level controls down.

2. Switch the unit's LIMIT switch to the OUT position.

3. Set both the GAIN and OUTPUT level controls to 0 dB.

L . Set the RATIO control to 10 and adjust the ATTACK and RELEASE

controls to a relatively fast setting.

5. Plug

a good quality music source into the mixing console and adjust

the console so that its meter peaks at around 0 VU.

are now in agreement. Console OVU = Limiter Threshold = onset of

clipping in your power amplifiers. If you wish to allow extra

headroom in the system between console OVU and the onset of

clipping, turn down the CL-50E's OUTPUT volume control by 5 dB,

10 GB, or whatever safety margin you desire. (You can turn the music

down now.)

9. Start with a 1 ms. ATTACK time, a .5 sec. RELEASE time, and a

RATIO of 10. Adjust these parameters according to the type of

program material, and firmness of control desired.

10. Activate the compressor | limiter by depressing the LIMIT IN/OUT

switch. Now, loud bursts of energy above 0 VU will cause little or no

clipping

in the system. U

THEORY

The Need For Gain Control

The human ear excels in its ability to detect an extremely wide range of

loudness levels, from the quietest whisper to the roar of a jumbo jet. When

we attempt to reproduce this dynamic range, by means of amplifiers, tape

recorders, records, or radio transmitters, we run into one of the fundamental

limitations of these electronic

media: limited dynamic range. Amplifier

dynamic range is quite good, and is adequate for most musical program

material. However, some types of audio equipment, such as cassette tape

recorders, have a very narrow useful dynamic range.

What is it that compromises the dynamic range of this equipment? The

useful operating region of a piece of audio equipment is squeezed in between

noise and distortion. As program level decreases, it approaches what is

known as the "noise floor", and if the volume of the program material goes

lower still, it is engulfed by the noise. The noise floor, or minimum constant

noise level, will consist of hiss, hum, transistor noise, record scratches, tape

hiss, buzz and whatever noises are inherent in the medium. When the

program level is considerably higher than the noise floor, our hearing masks

the noise, and it is not a problem. However, when listening to very quiet

sections of a program for example, a pause between movements of a string

quartet the noise can become very bothersome.