Ashly LIMITER/COMPRESSORS CL-50E Manuale d'uso - Pagina 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.
4
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.
N
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.