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All Rights Reserved Page - 8 Operator Manual – CLX-52 Compressor/Limiter Introduction - 4 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 Typical Applications 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 Effect After the mixer and before the Crossover and amplifier(s) Compression and Limiting acts on the entire signal, preventing crossover and amplifier overload and maximizing the dynamic performance of both. After and active crossover and before the amplifier(s) 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. After a parametric EQ and before the amplifier(s) 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. 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. Copyright© 2011 – Ashly Audio Inc. Operator Manual – CLX-52 Compressor/Limiter Page - 9 All Rights Reserved Troubleshooting Situation Action No Audio Output Check AC power - is the power LED on? Check in/out connections - are they reversed? Are you sure you have an input signal? Controls Have No Effect Is the Limiter In/Out switch In? Perhaps the Ratio control is set too low to produce an audible effect or the input level is below threshold. Is the Threshold LED lighting up? If not, lower the threshold setting or increase the gain. Do not expect to hear any effect when the input level is below threshold, since the unit is simply a linear amplifier at those levels. When Using Heavy Compression, Background Noise is Noticeable During Quiet Sections Of The Program Quiet program material is effectively made louder while loud peaks are made quieter. When the program source is thus raised in volume, its noise floor is also raised in volume by a proportionate amount. This is not a defect in the Compressor/Limiter, but an unavoidable side effect of the gain altering process. If the noise becomes a problem, the solutions are to either decrease noise at the program source, or use less compression. Excessive Hum or Noise Hum is often caused by a “ground loop” between components. Try using the suggested balanced input and output hookups if the other pieces of equipment u...