Ashly LIMITER/COMPRESSORS CL-100 Manuale Utente

ASHLYowner’s manualCL-100 CL-50E CL52E LIMHER/COMPRESSORSASHLY AUDIO, INC^

The Ashly CL-50E^ Compressor/LimiterGAINAdjusts the input sensitivity so gain control action starts at the proper signal level.ATTACKAdjusts the speed

Two important features emerged from this research:1. We designed the detector to let the attack and release times speed up as more and more limiting

tnstalling the CL-50E for use in a sound sysfen? with a passive crossoi'er.Since speaker diaphragms are subject to the laws of physics, they won’

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 micro

vicinity of the sibilant, the limiter’s detector circuit becomes more sensitive to this particular range of frequencies, and so will limit the bothers

Voice-Over Compression ("Ducking")The CL-SERIES can be used to automatically reduce music to a background level when an announcer is speakin

The concept of stereo operation is sometimes confusing, but it is less difficult to understand if you keep a few basic rules in mindWhen the switch is

GLOSSARYACTIVEEtectranic circuits which use devices such as transistors and integrated circuits, and which are capable of voltage and power

We thank you for your expression of confidence in Ashty products. The unit you have purchased is protected by a five-year warranty. To establish the w

TABLE OF COWranSIntroduction...2If You Are In A Hurry...2Mechanic

IMTBODUCTIONThe Ashly CL-SERIES of Peak Compressor/Limiters was designed in response to the need for a universal peak-sensitive automatic gain control

ohms, and fiill headroom is realized with any load of600 ohms or greater. For rack-mounted unbalanced audio ^^ms the output ground may be separated fr

been reached. For veiy fast transients, such as hand claps, snare drums, or other percussive soimds, a very fast attack time is usually desirable so

INITIAL SETUP AND CHECKOUTExact control of system headroom requires defining the clipping point of the amplifiers in relation to the nominal zero VU o

Comparison of the dynamic range of several common audio systems.At the other end of the loudness spectrum, the limitation on dynamic range is usually

To determine which peaks are acceptable and which are too loud, the limiter establishes a reference level known as Ihe threshold, and then responds to

disadvantages peculiar to tubes—change of gain and matching as aging took place, heat, microphonics, high cost, and the need for both high- voltage an