Ashly DPX-100 Panduan Pengoperasian - Halaman 6

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Operating Manual - DPX-100 Graphic Equalizer - Compressor/Limiter

the double time constant, release from gain reduction af-

ter a brief transient is always fast, with a slower release

after a sustained overdrive.

6.6 OUTPUT LEVEL

Output level control is provided to fully cut or

restore up to 18 dB of system gain. For unity gain, set

the control to 0. NOTE: When the compressor/limiter is

switched out, the output control still functions.

6.7 IN/OUT SWITCH

This switch enables you to quickly hear the com-

pressor/limiter in or out of the audio chain. When the

switch is in the out position, all limiting and compres-

sion controls and functions are bypassed, with the excep-

tion of the gain and output controls, which continue to

function as straightforward level controls.

6.8 THRESHOLD/GAIN REDUCTION DISPLAY

As soon as the threshold level is reached, the yel-

low LED illuminates. Depending on how far the input

level rises above threshold, successive red LED's will il-

luminate, indicating gain reduction. Gain reduction can

best be described as the difference between input level

and the resulting change to output level. For signals

below threshold, there will of course be no gain reduc-

tion, that is, a 10dB increase in input will yield a 10dB

increase in output. For signals above threshold however,

output level will increase only to the extent that the ratio

control allows. With a high ratio, say 20 or so, it will take

20dB of increased input level to increase output level by

1dB. With a gentler ratio of 3:1, input signals above

threshold will be "gain-reduced" at the output by 1/3. In

other words, with threshold set at 0dB, a signal peak at

+12 dBV that is 3:1 compressed (ratio at 3) will produce

only +4 dB (12 3) at the output, and 8 dB of gain reduc-

tion has occurred (12 dBV input minus 4 dBV output=8

dB reduction.)

6.9 INPUT/OUTPUT METER SELECT

While the Gain Reduction display accurately rep-

resents the action of the limiter, comparing input to out-

put levels in real time is somewhat more intuitive, and is

made simple using the input/output meter select switch.

The input meter takes its signal just after the gain con-

trol, and will indicate input signal level regardless of out-

put levels or limiter settings. The output meter display

takes its signal from the actual output of the unit, so ev-

ery control that affects the output will also have an effect

on output meters. Used in conjunction with the gain re-

duction meters, input/output meters prove to be an ex-

tremely useful diagnostic tool when working with system

dynamics and level control.

7. CONNECTIONS AND CABLES

7.1 Balanced vs. Unbalanced Audio Connections

Balanced signal connections are preferred in pro

audio applications because of their improved immunity

to induced hum and noise. A properly shielded and wired

balanced input stage on any audio product will reject most

unwanted noise (RFI, EMI) picked up by the cable, as

well as minimize ground loop problems. Therefore it is

always advantageous to use balanced connections when

running signal more than ten or fifteen feet, although par-

ticularly noisy environments may require that even short

patch cables be balanced.

Unbalanced connections are used mostly for short

distance, high level signals (0dBu nominal). Most exter-

nal EMI noise pick-up will be masked under the noise

floor of the signal, assuming there is little or no gain fol-

lowing the unbalanced signal. If a gain stage does follow

a signal, or if externally sourced noise persists, use bal-

anced connectors.

(Use M