Ashly DPX-100 manual Output Level, 6.7 IN/OUT SWITCH, Threshold/Gain Reduction Display

Operating Manual - DPX-100 Graphic Equalizer - Compressor/Limiter

Model DPX-100

Made In USA

AC

	CAUTION
100 -120VAC	Risk o f Electric
	Shock. Do
50-60Hz 12W
	Not Open

INPUTS are Active B alanced . O UTPUTS M ay B e Wired

B alanced O r Un balanced .

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21 X LR

Fem a le

S h o wn

(+) (-)

Comp

TIP = D etec (Use M R IN

Output

the double time constant, release from gain reduction af- ter a brief transient is always fast, with a slower release after a sustained overdrive.

6.6 OUTPUT LEVEL

Output level control is provided to fully cut or restore up to 18 dB of system gain. For unity gain, set the control to 0. NOTE: When the compressor/limiter is switched out, the output control still functions.

6.7 IN/OUT SWITCH

This switch enables you to quickly hear the com- pressor/limiter in or out of the audio chain. When the switch is in the out position, all limiting and compres- sion controls and functions are bypassed, with the excep- tion of the gain and output controls, which continue to function as straightforward level controls.

6.8 THRESHOLD/GAIN REDUCTION DISPLAY

As soon as the threshold level is reached, the yel- low LED illuminates. Depending on how far the input level rises above threshold, successive red LED’s will il- luminate, indicating gain reduction. Gain reduction can

best be described as the difference between input level

and the resulting change to output level. For signals below threshold, there will of course be no gain reduc- tion, that is, a 10dB increase in input will yield a 10dB increase in output. For signals above threshold however, output level will increase only to the extent that the ratio control allows. With a high ratio, say 20 or so, it will take 20dB of increased input level to increase output level by 1dB. With a gentler ratio of 3:1, input signals above threshold will be “gain-reduced” at the output by 1/3. In other words, with threshold set at 0dB, a signal peak at +12 dBV that is 3:1 compressed (ratio at 3) will produce only +4 dB (12⎟ 3) at the output, and 8 dB of gain reduc- tion has occurred (12 dBV input minus 4 dBV output=8 dB reduction.)

6.9 INPUT/OUTPUT METER SELECT

While the Gain Reduction display accurately rep- resents the action of the limiter, comparing input to out- put levels in real time is somewhat more intuitive, and is made simple using the input/output meter select switch. The input meter takes its signal just after the gain con- trol, and will indicate input signal level regardless of out- put levels or limiter settings. The output meter display takes its signal from the actual output of the unit, so ev- ery control that affects the output will also have an effect on output meters. Used in conjunction with the gain re- duction meters, input/output meters prove to be an ex- tremely useful diagnostic tool when working with system dynamics and level control.

7. CONNECTIONS AND CABLES

7.1 Balanced vs. Unbalanced Audio Connections

Balanced signal connections are preferred in pro audio applications because of their improved immunity to induced hum and noise. A properly shielded and wired balanced input stage on any audio product will reject most unwanted noise (RFI, EMI) picked up by the cable, as well as minimize ground loop problems. Therefore it is always advantageous to use balanced connections when running signal more than ten or fifteen feet, although par- ticularly noisy environments may require that even short patch cables be balanced.

Unbalanced connections are used mostly for short distance, high level signals (0dBu nominal). Most exter- nal EMI noise pick-up will be masked under the noise floor of the signal, assuming there is little or no gain fol- lowing the unbalanced signal. If a gain stage does follow a signal, or if externally sourced noise persists, use bal- anced connectors.

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