User manual PRESONUS DIGIMAX 96 K V 2.0

[. . . ] DIGIMAX 96K 8 Channel Preamplifier with Dual Domain Limiters and Digital Outputs User's Manual Version 2. 0 © 2007, PreSonus Audio Electronics, Inc. All Rights Reserved. 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. [. . . ] For example, if a processor states that the maximum input level before distortion is +24dBu and the output noise floor is -92dBu, then the processor has a total dynamic range of 24 + 92 = 116dB. The average dynamic range of an orchestral performance can range from -50dBu to +10dBu on average. 60dB may not appear to be a large dynamic range but do the math and you'll discover that +10dBu is 1000 times louder than -50dBu!Rock music on the other hand has a much smaller dynamic range, typically -10dBu to +10dBu, or 20dB. This makes mixing the various signals of a rock performance together a much more tedious task. Consider the previous discussion: You are mixing a rock performance with an average dynamic range of 20dB. You wish to add an un-compressed vocal to the mix. The average dynamic range of an uncompressed vocal is around 40dB. In other words a vocal performance can go from -30dBu to +10dBu. The passages that are +10dBu and higher will be heard over the mix, no problem. However, the passages that are at -30dBu and below will never be heard over the roar of the rest of the mix. A compressor can be used in this situation to reduce (compress) the dynamic range of the vocal to around 10dB. The vocal can now be placed at around +5dBu. At this level, the dynamic range of the vocal is from 0dBu to +10dBu. The lower level phrases will now be well above the lower level of the mix and louder phrases will not overpower the mix, allowing the vocal to `sit in the track'. The same discussion can be made about any instrument in the mix. Each instrument has its place and a good compressor can assist the engineer in the overall blend of each instrument. This question may lead many folks to say `absolutely not, overcompression is horrible'. That statement can be qualified by defining `overcompression'. The term itself, `overcompression' must have been derived from the fact that you can hear the compressor working. A well designed and properly adjusted compressor should not be audible!Therefore, the overcompressed sound is likely to be an improper adjustment on a particular instrument. [. . . ] > 120 dB Power Supply Rejection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 98 dB Amplifier Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dual Servo Phantom Power (±2 VDC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +48 VDC Instrument Input (channels 1 & 2 only) Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]