COMP16 S M A R T C O M P R E S S O R HP4 H E A D P H O N E D I S T R I B U T I O N A M P L I F I E R EQ3B 3 BAND PARAMETRIC EQALIZER USERS MANUAL Version 1.
COMP16 S M A R T C O M P R E S S O R HP4 H E A D P H O N E D I S T R I B U T I O N A M P L I F I E R EQ3B 3 BAND PARAMETRIC EQALIZER USERS MANUAL Version 1.0 ? 2003, PreSonus Audio Electronics, Incorporated. All rights reserved.
W A R R A N T Y 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. To be protected by this warranty, the purchaser must complete and return the enclosed warranty card within 14 days of purchase.
TABLE OF CONTENTS 1 Overview 1.1 Introduction 2 4 Comp16 2.1 A Word About Compression 5 2.2 Front/Back Panel Basic Layout 7 2.3 Presets 9 2.4 Application Guide 14 3 EQ3B 3.1 Front/Back Panel Basic Layout 17 3.2 Application Guide 19 4 HP4 4.1 Front/Back Panel Basic Layout 21 4.2 Application Guide 23 5 Technical Specifications 5.1 COMP16 Specifications 24 5.2 EQ3B Specifications 25 5.
1 INTRODUCTION 1 . 1 I N T R O D U C T I O N Thank you for purchasing this PreSonus Product. Your product was designed with you, the end user in mind. This device was built with state of the art components to deliver crystal clear audio for an infinite period of time. We believe this unit to be an exceptional sounding unit at an exceptional price. We hope you agree. Feel free to contact us at 1-800-750-0323 anytime for any reason. We value your comments and suggestions.
PRESONUS 2 . 1 A W O R D A B O U T C O M P R E S S I O N Punch, apparent loudness, presence… just three of many terms used to describe the effects of compression/ limiting. Compression and limiting are forms of dynamic range (volume) control. Audio signals have very wide peak to average signal level ratios (sometimes referred to as dynamic range which is the difference between the loudest level and the softest level).
PRESONUS 10:1 are considered hard limiting. Limiting refers to the point at which the signal is restrained from going any louder at the output. The level of input signal at which the output is reduced is determined by the compression threshold. As the compression threshold is lowered, more and more of the input signal is compressed (assuming a nominal input signal level). Care must be taken not to ‘over compress’a signal. Too much compression destroys the acoustical dynamic response of a performance.
PRESONUS 2 . 2 C O M P 1 6 F R O N T P A N E L B A S I C L A Y O U T The front panel on the COMP16 is divided into three sections. These are: 1. Presets: Sixteen selectable preset positions. The Presets for the COMP16 are controlled by this sixteen position rotary encoder. As the encoder is rotated, parameters are digitally switched, simultaneously controlling attack, release, ratio and threshold. 2. Controls: The Input control adjusts the gain on the input amplifier.
PRESONUS compressor lowers the output level during gain reduction, the overall signal level is lowered, requiring the user to ‘makeup’the gain thereby restoring the original signal level. Output to Meter This button selects the function of the Output/Gain Reduction meter. Pushed out, the meter gives you the level of the gain reduction. Pushed in, the meter gives you the level of the signal after compression; the output level.
PRESONUS Input The input jack accepts balanced/unbalanced tip-sleeve or tip-ring-sleeve connectors or XLR connectors. The input can handle up to +22dBu unbalanced levels. Output The output jack accepts (balanced/unbalanced) tip-sleeve, tip-ring-sleeve or XLR connectors. The output will deliver up to +22dBu in signal level unbalanced. 2 . 3 P R E S E T S Vocal 1 SOFT - Easy compression. A low ratio setting for ballads allowing a wider dynamic range. Good for ‘live’use.
PRESONUS -3.3dB 2.8:1 0.002mS 38mS 3 SCREAMER - For loud vocals. Fairly hard compression for a vocalist who is ‘on’and ‘off’the microphone a lot. It puts the voice ‘in your face’. Threshold -1.1dB Ratio 3.8:1 Attack 0.002mS Release 38mS Perc. 1 SNARE/KICK - Allows the first transient through and compresses the rest of the signal giving a hard snap up front with a longer release. Threshold -2.1dB Ratio 3.
PRESONUS Threshold -4.4dB Ratio 2.6:1 Attack 45.7mS Release 189mS 2 ACOUSTIC GUITAR - This setting accentuates the attack of the acoustic guitar and helps maintain an even signal level keeping the acoustic guitar from disappearing in the track. Threshold -6.3dB Ratio 3.4:1 Attack 188mS Release 400mS 3 ELECTRIC GUITAR - A setting for ‘crunch’ electric rhythm guitar. A slow attack helps get the electric rhythm guitar up close and personal and gives punch to your crunch. Threshold 0.1dB Ratio 2.
PRESONUS 3 ORCHESTRAL - Use this setting for string ‘pads’ and other types of synthesized orchestra parts. It will decrease the overall dynamic range for easier placement in the mix. Threshold 3.3dB Ratio 2.5:1 Attack 1.8mS Release 50mS Limit 1 MONO LIMITER - Just as the name implies. A hard limiter setting (brick wall) ideal for controlling level to the 2 track mixdown deck or Mono output. Threshold 5.5dB Ratio 7.1:1 Attack 0.
PRESONUS 2 PUMP - Make the COMP16 ‘pump up the prime’. A setting for making the compressor pump in a desirable way. This effect is good for snare drum to increase the length of the transient by bringing the signal up after the initial spike. Very contemporary. Threshold 0dB Ratio 1.9:1 Attack 1mS Release 0.001mS 3 Tamer – Tame that funky low end. Designed to help control low end transients. This setting is especially useful for Bass Guitar.
PRESONUS 2 . 4 A P P L I C A T I O N Q U I C K G U I D E S T A R T 1. Connect your COMP16 using one input jack (TS, TRS, or XLR) and one or more of the output jacks(TS, TRS, or XLR). 2. Select your preset. (Refer to the preset descriptions above. Remember that the Ratio, Attack and Release knobs are only active in Manual mode.) 3. Do not push the bypass button in. 4. Turn the Input knob all the way to -20 (counter-clockwise). 5. Set the Output knob on 0. 6.
PRESONUS B A S I C C O N N E C T I O N S The COMP16 can be hooked to another processor, such as the EQ3B or TubePre in a live or studio environment. Please note that a microphone can not be plugged directly into the COMP16. The microphone has to be preamplified first. The TubePre would be a perfect preamp in front of the COMP16. We do recommend that whenever possible, balanced cables be used. Examples of balanced cables would be XLR or TRS (Tip – Ring – Sleeve).
PRESONUS B A S I C O P E R A T I N G P R O C E D U R E S Setting Compression Amount Your COMP16 was designed with a fixed threshold mode of operation. This differs from other compressors in the fact that there is no threshold control. This offers the unique ability to immediately hear the sometimes subtle differences between presets which each have unique threshold settings.
PRESONUS 3 . 1 E Q 3 B F R O N T P A N E L B A S I C L A Y O U T The front panel on the EQ3B is divided into three sections. These are the three bands of equalization: There is a frequency selection knob (Hz), gain/gain reduction(dB) (amplitude) knob and a Q control. The frequency selection knob (Hz) allows the user to choose the center frequency of that band of the EQ. The Q knob allows the user to alter the width of the frequency being adjusted.
PRESONUS Figure1 Bypass If the BYPASS button is not pushed in, the EQ3B is processing the signal (equalizing). Pushed in, the EQ3B is no longer equalizing the signal. 80Hz The 80Hz button is a low end roll off filter. When pushed in, the 80Hz button causes all frequencies below 80Hz to be attenuated (dropped) by 12dB. This filter can be handy in several live and studio applications. One instance would be for use on a vocal. The 80Hz filter would help reduce the “boominess”of a deep vocal. 3 .
PRESONUS Input The input jack accepts balanced/unbalanced tip-sleeve or tip-ring-sleeve connectors or XLR connectors. The input can handle up to +24dBu unbalanced levels. Output The output jack accepts (balanced/unbalanced) tip-sleeve, tip-ring-sleeve or XLR connectors. The output will deliver up to +24dBu in signal level unbalanced. 3 . 2 A P P L I C A T I O N G U I D E The EQ3B can be hooked to another processor, such as the COMP16 or TubePre in a live or studio environment.
PRESONUS connector jack. This end of the cable plugs into the insert jack on the mixer channel. The other ends of the cable plug into the input and output of the EQ3B. If the EQ3B does not work immediately, you may want to try changing the jacks that are plugged into the input and output of the unit.
PRESONUS 4 . 1 H P 4 F R O N T P A N E L B A S I C L A Y O U T The front panel on the HP4 is divided into three sections. These are the potentiometers (knobs), headphone jacks, and buttons: Headphone Volume The HP4 has the potential to be very loud (it goes to 12). Please be careful when you first start passing sound through the unit. It is generally a good idea to start with the volume set at 1 and then bring the volume up.
PRESONUS is not pushed in, the left output will have the left input signal and vice-versa. Monitor Mute The monitor mute button is handy when you are only using the headphone outputs and don’t want to use the Master Outputs. Also, it enables the user to hit one button rather than turn down the volume knob for the Monitor Level. A good use of this button would be for recording in front of a computer or DAW. When a mic is on, the Monitor Mute button would be pushed in to prevent feedback.
PRESONUS connected to the power amp of your studio speakers, to the inputs of self amplified speakers, or to another HP4. 4 . 2 A P P L I C A T I O N G U I D E The HP4 can be hooked to another processor, such as the COMP16 or TubePre in a live or studio environment. We do recommend that whenever possible, balanced cables be used. An example of a balanced cable would be a TRS (Tip – Ring – Sleeve). A balanced cable is preferred because it generally has a greater level of noise rejection.
PRESONU S 5 . 1 C O M P 1 6 S P E C I F I C A T I O N S Number of Channels................................................... 1 Dynamic Range ................................................ >115dB Signal to Noise Ratio .......................................... >95dB Headroom......................................................... +22dBu Frequency Response ............................. 10Hz to 50kHz Compression Ratio .......................................1:1 to 20:1 Compressor Attack Time ...........
PRESONUS 5 . 2 E Q 3 B S P E C I F I C A T I O N S Number of Channels................................................... 1 Dynamic Range ................................................ >115dB Signal to Noise Ratio .......................................... >95dB Headroom......................................................... +22dBu Frequency Response ............................. 10Hz to 50kHz XLR Input Impedance .................................... 10kOhms TRS Input Impedance........................
PRESONUS 5 . 3 H P 4 S P E C I F I C A T I O N S Number of Channels.......................................1 in 5 out Dynamic Range ................................................ >115dB Signal to Noise Ratio .......................................... >95dB Headroom......................................................... +22dBu Frequency Response ............................. 10Hz to 50kHz Input Impedance............................................ 10kOhms Master Output Impedance.......................
