Ashly CLX-52 Руководство по эксплуатации - Страница 8
Просмотреть онлайн или скачать pdf Руководство по эксплуатации для Музыкальное оборудование Ashly CLX-52. Ashly CLX-52 12 страниц. Compressor/limiter
Также для Ashly CLX-52: Технические примечания и спецификации (2 страниц), Технические примечания и спецификации (2 страниц), Руководство по эксплуатации (12 страниц)
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Page - 8
Introduction - 4
Typical Applications
GQX Equalizers – 5
Connectors & Cables – 5
Physical Description - 6
Installation – 7
Typical Applications - 8
Protective Device
Recording
De-Essing
Instrument Texture
De-Essing
Troubleshooting - 9
Dimensions - 9
Specifications - 10
Warranty - 11
The applications of the Ashly CLX-52 can be divided into two basic categories, limiting
and compressing. When used as a protective device, it is functioning as a Limiter. It may
also be used to reduce the dynamic range of a signal, creating a fuller sounding signal
without increasing the loudness peaks, in which case it is functioning as a compressor.
The CLX-52 As A Protective Device
The CLX-52 provides fast and accurate gain control for the prevention of sound system
overload due to unexpected transients. Sustained distortion caused by amplifiers running
out of power or occasional, one-shot high level overload (a microphone falling onto a
hardwood floor) can damage speakers and other system components. The CLX-52 can be
installed in several locations in a sound system to achieve specific goals:
CLX-52 Signal Path Location
After the mixer and before the
Crossover and amplifier(s)
After and active crossover and
before the amplifier(s)
After a parametric EQ and
before the amplifier(s)
Recording
The CLX-52 limiter can be used to prevent input overload (clipping/distortion) in a live
recording environment. To prevent distortion while preserving dynamic range, set the
CLX-52 as follows: Gain = 0, Threshold = 2-3 dB below recorder input max, Ratio = 10,
Attack = 2 mS, Release = .2 Sec, Output = 0. Every situation is different, so
experimentation before final recording is always a good idea.
De-Essing
A special type of saturation problem often encountered in recording is the sibilant (Ssss)
sound of the human voice. The solution is frequency-dependent limiting, which is easily
accomplished with the CLX-52. By inserting an equalizer into the Detector Patch point
and boosting the equalizer at high frequencies in the vicinity of the sibilant, the limiter's
detector circuit becomes more sensitive to this particular range of frequencies, and so will
limit the bothersome sibilants more than other frequencies.
Altering Instrument Texture
Compression can be used to help bring out a lead vocal or instrumental solo in a cluttered
mix. The compressor is also a great corrective tool when working with singers whose own
dynamic control is less than perfect. Experimentation is highly recommended.
Voice-Over Compression (Ducking)
The CLX-52 can be used to reduce music to a background level when an announcer is
speaking. The detector is connected to respond only to an announcer's voice.
Stereo Operation
On the CLX-52, pressing the Stereo Tie switch combines the detector outputs so that the
loudest channel controls the limiter action of the other channel. This allows true stereo
imaging to be preserved regardless of which channel is in gain reduction.
Operator Manual – CLX-52 Compressor/Limiter
Effect
Compression and Limiting acts on the entire signal, preventing crossover and amplifier
overload and maximizing the dynamic performance of both.
Compression and Limiting acts on each segment of the signal (to which a CLX-52
channel is connected) coming from the crossover, allowing for different settings in each
crossover output.
This setup is typically used to control feedback. By using the parametric EQ as a multi-
point notch filter on the feedback frequencies and the CLX-52 to limit those
frequencies, an accurate and automatic feedback control can be imposed on a system.
Copyright© 2011 – Ashly Audio Inc.