Ashly LIMITER/COMPRESSORS CL-100 Owner's Manual - Page 13

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2. 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

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