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Page - 8 Operator Manual – CLX-52 Compressor/Limiter
Copyright© 2006 – Ashly Audio Inc.
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 an active crossover and
before the amplifier(s)
Compression and Limiting acts on each segment of the signal (to which a CLX-25
channel is connected) coming from the crossover allowing for different settings in each
segment
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 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.
Safety Instructions – 3
Introduction - 4
CLX-52 – 5
Connectors & Cables – 5
Physical Description - 6
Installation – 7
Typical Applications - 8
Protective Device
Recording
De-Essing
Instrument Texture
Ducking
Stereo Operation
Troubleshooting - 9
Dimensions - 9
Specifications - 10
Warranty - 11