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 | Compression and Limiting acts on the entire signal, preventing crossover and amplifier |
crossover and amplifier(s) | overload and maximizing the dynamic performance of both |
After an active crossover and | Compression and Limiting acts on each segment of the signal (to which a CLX-25 |
before the amplifier(s) | channel is connected) coming from the crossover allowing for different settings in each |
| segment |
After a parametric EQ and | This setup is typically used to control feedback. By using the parametric EQ as a multi- |
before the amplifier(s) | 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 unit. 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
Compressoion 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.
