User manual PRESONUS ACP88

[. . . ] ACP88 Eight Channel Compressor/Limiter/Gate User' Manual s Version 1. 2 ACP88 EIGHT CHANNEL COMPRESSOR/LIMITER/GATE USERSMANUAL Version1. 2 Copyright 1998, 2000, 2001 PreSonus Audio Electronics, Incorporated. All rights reserved. WARRANTY PreSonus Limited Warranty PreSonus Audio Electronics Inc. warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase. This warranty is enforceable only by the original retail purchaser. [. . . ] When the Range is set to 15 dB, the CLOSE LED will show half illumination. When the Range is set to 60 dB, the CLOSE LED will illuminate to it' brightest level at the end of the release time. s (REMEMBER: Release time is set by the Release control. ) 14 CONTROLS & CONNECTIO NS 2. 4 Gain Gain When compressing a signal, Gain reduction usually results in an overall reduction of level. The Gain control allows you to restore the loss in level which occurs due to the amount of compression used. (like readjusting the volume. ) 2. 5 Bypass & Link Bypass Activating the Bypass effectively removes all processing being performed by your ACP-88 and returns the signal to unity gain. You should use Bypass often when setting up your ACP-88 to compare the ` before and after' results of the signal processing effecting your audio signal. Bypass affects both the Gate and the Compressor. When Bypassed, the Link function is interrupted for that channel and essentially breaks the link in your linking ` chain' . Link When the Link button is engaged (pushed in) the LED labeled LINK becomes active indicating this channel has become the slave of the channel to its immediate left (The Link LED is only active when the signal is present in the Linked channel). All of the controls for the Linked channel become disabled and metering occurs by way of the Gain reduction meter of the channel to the left (Exception: the LED meter of the Slaved channel is still useful to indicate the presence or lack of signal). Essentially, the left channel is still the Master and the channel with the Link button pushed in is the Slave channel in a stereo linked pair. If multiple Link buttons are pushed in, then the channel farthest to the left of the multiple Linked channels (without its link button pushed in) becomes the Master for the multiple Linked channels. In this case, all metering should be referred to the Master channel' meter. s IMPORTANT: When a channel is Linked (link button pushed in), all of it' controls are inactive. Also, even s though the meters on the Linked channel are still operational 15 CONTROLS & CONNECTIO NS (presence or lack of signal), all metering should be referred to the Master channel' meter for the Gain reduction level of the Linked s channels!2. 6 Patch Panel (Back) Input The Input jack accepts balanced tip-ring-sleeve or unbalanced tipsleeve connectors. The Input can handle up to +24 dBu unbalanced or up to +18 dBu balanced signal levels. 16 CONTROLS & CONNECTIO NS Output The output jack accepts balanced tip-ring-sleeve or unbalanced tipsleeve connectors. The output will deliver up to +24 dBu in signal level, balanced or unbalanced. +4/-10 Switch This switch adjusts the internal operating level of your ACP-88 when it is connected to line level (0 dB = -10 dBV) gear. With this switch in the ` -10' position, the signal is adjusted by 11. 2 dB so that it can be processed at the lower noise floor of your ACP-88' internal circuitry. The signal level is lowered s on the way out to match with your line level gear' input. When the switch is in s the ` position, the signal is not changed since this matches the optimum +4' internal operating level of your ACP-88. Compressor Sidechain The Sidechain jack on each channel interrupts the signal that the compressor is using to determine the amount of Gain reduction to apply. [. . . ] If you're adding the acoustic instrument to a mix that already includes a lot of other instruments such as distorted guitar, compressing the life out of your guitar will help you later in the mix. If the guitar is recorded as a solo instrument or part of an acoustic ensemble, you should experiment with less compression because you don't want to severely limit the natural acoustic dynamic range of a good sounding guitar. Start by using the setup described in the vocal section. . . De-essing using an inserted equalizer into the Sidechain. [. . . ]