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PRESONUS ACP88 manual

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Table of contents for the manual

  • Page 1

    ACP88 Eight Channel Compressor/Limiter/Gate User ’ s Manual Version 1.2[...]

  • Page 2

    ACP8 8 EIGHT CHANNEL COMPRESSOR/LIMITER/ G AT E USERS MANUA L Version 1. 2 Copyright 1998,2000,2001 PreSonus Audio Electronics, Incorporated. All rights reserved.[...]

  • Page 3

    WARRANTY PreSonus Limited Warr anty 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 pr otected by this warranty, the purchaser must complete and return [...]

  • Page 4

    TABLE OF CONTENTS 1 Overview 1.1 Introduction 1.2 Features 2 Co ntrols & Connections 2.1 Front Panel Basic Layout 2.2 Compressor Controls 2.3 Gate Controls 2.4 Gain 2.5 Bypass & Link 2.6 Patch Panel 2.7 Power 3 Basic Setup and Applications 3.1 Some Basic Patching 3.2 Basic Applications 4 Technical 4.1 Specifications 4.2 Block Diagram[...]

  • Page 5

    OVERVIEW 5 1.1 INTRODUCTION Thank you for purchasing the PreSonus ACP - 88 multi - channel dynamics processor. Your processor was designed using state of the art components to deliver crystal clear compression and noise gating for an infinite period of time. We believe the ACP - 88 to be an exceptional sounding unit and an exceptional value. Feel f[...]

  • Page 6

    OVERVIEW 6 drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack , Threshold , Release and Gate close Range . The Gate close range can be useful in creating a more natural sounding blend or mi x when gating many instruments at once. ? Comprehensive Chan[...]

  • Page 7

    OVERVIEW 7 ? Separate Gate Sidechain/keying Jacks for Each Channel. Your ACP - 88 also includes a separate jack on each channel for Gate sidechain/Keying . This is useful for synching an external sound to a snare track, for example, or putting equaliz ers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc. [...]

  • Page 8

    OVERVIEW 8 To Get Help … Call Us: 1 - 800 - 750 - 0323, 9 AM to 5 PM, CST Visit our World Wide Web Site: http://www.presonus.com Email Us: presonus@presonus.com[...]

  • Page 9

    CONTROLS & CONNECTIO NS 9 2.1 Front Panel Basic L ayout Notice that the front panel is divided into eight identical sections. These ar e the eight signal processing chains of the ACP - 88. Each channel contain s : ? Compressor/Limiter ? Noise Gate ? Gain Makeup ? Link & Bypass Control[...]

  • Page 10

    CONTROLS & CONNECTIO NS 10 2.2 Compressor Controls Threshold The Compressor Threshold sets the level at which compression begins . The belo w and above LED ’ s over the Threshold knob indicate whether the input signal is below or above the Threshold setting. When the signal is above the Threshold setting, it becomes ‘ eligible ’ for compr[...]

  • Page 11

    CONTROLS & CONNECTIO NS 11 Threshold knob set at 0 dB , and the Ratio turned fully clockw ise , the Compresso r becomes a Limiter at 0 dB . This means the signal will be limited to an output of 0 dB regardless of the input signal. Attack Attack sets the speed at which the compressor ‘ acts ’ on the input signal. A slow attack time ( fully c[...]

  • Page 12

    CONTROLS & CONNECTIO NS 12 Soft The Soft button selects Soft Knee and Hard Knee compression curves. When this button is pushed in , Soft knee compression curves are used, otherwise hard knee compression curves are used. With Hard knee compression, the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the[...]

  • Page 13

    CONTROLS & CONNECTIO NS 13 2.3 Gate Controls Attack The Gate attack control sets the speed at which the gate opens to allow signal to pass through it. This control is variable from 10 microseconds to 100 milliseconds. It is advisable to use slower Attack times when gating vocals or quieter instruments to avoid what is often described as gate ?[...]

  • Page 14

    CONTROLS & CONNECTIO NS 14 signals below the Threshold setting are reduced in level by the amount set by the Range switch. The ‘ CLOSE ’ LED above the Threshold knob indicates when the gate is closed (the signal level is below the threshold). If the Threshold is set fully counter - clockwise, the Gate is turned off (always open), allowing a[...]

  • Page 15

    CONTROLS & CONNECTIO NS 15 2.4 Gain Gain When compressing a signal, Gain reduction usually results in an overall reduction of level. The Gain control allows you to restore the loss in level which occurs due to the amount of compression used. (like readjusting the volume.) 2.5 Bypass & L ink Bypass Activating the Bypass effectively removes a[...]

  • Page 16

    CONTROLS & CONNECTIO NS 16 (presence or lack of signal), all metering should be referred to the Master channel ’ s meter for the Gain reduction level of the Linked channels! 2.6 P atch Panel (Back) Input The Input jack accepts balanced tip - ring - sleeve or unbalanced tip - sleeve connectors. The Input can handle up to +24 dBu unbalanced or [...]

  • Page 17

    CONTROLS & CONNECTIO NS 17 Output The output jack accepts balanced tip - ring - sleeve or unbalanced tip - sleeve connectors. The output will deliver up to +24 dBu in signal level, balanced or unbalanced . +4/ - 10 Switch This switch adjusts the internal operating level of your ACP - 88 when it is connected to line level ( 0 dB = - 10 dBV ) gea[...]

  • Page 18

    CONTROLS & CONNECTIO NS 18 connector. This signal can then be processed by an equalizer for example to reduce sibilance 9de - essing) in a vocal track. The signal is then returned to the unit via the tip of the connector. The signal sent via the ring could be that of a narrator or vocalist. In this application, the audio that you are passing th[...]

  • Page 19

    CONTROLS & CONNECTIO NS 19 2.7 Power Power Connection The power jack on your ACP - 88 accepts a standard IEC cord like those found on most computers and professional recorders. Your ACP - 88 contains a custom built; internal power supply, no wall wart. This way you can be assured of clean power and rugged construction that will last! Power Sele[...]

  • Page 20

    BASIC SETUP & APPLIC ATIONS 3.1 Some Basic P atching Inserting into your mixers inser t points[...]

  • Page 21

    BASIC SETUP & APPLIC ATIONS Between multi - track recorder inputs/outputs to mixer outputs/inputs, unbalanced.[...]

  • Page 22

    BASIC SETUP & APPLIC ATIONS 22 3.2 Basic A pplications Example setup compressing a voice or vocal track. Probably the most common use of a compressor is to control the dynamic ran ge of a vocalist during a live performance or when recording. It is almost always necessary to compress a vocal take during a recording session. Most vocalists have a[...]

  • Page 23

    BASIC SETUP & APPLIC ATIONS 23 out , Gate Threshold knob is fully counter - clockwise, Compressor Ratio knob is set to 1:1 ( fully counter clockwise ). To set the compressor : turn the Ratio to the 2:1 mark on the legend. With t he vocalist yodeling into the mic, turn the compressor ’ s Threshold until the gain reduction meters read about –[...]

  • Page 24

    BASIC SETUP & APPLIC ATIONS 24 Attack knob clockwise . You should notice that the beginning ' transient ' of your snare sound is starting to jump out of the speakers and slap you in the face. This becomes even more noticeable when using digital reverb eratio n on th e snare. Now you can adjust the Gate on the snare to stop those other[...]

  • Page 25

    BASIC SETUP & APPLIC ATIONS 25 Compressing bass guitar. Very similar to compressing vocals, the bass guitar is almost always compressed or limited during recording. Start with the setting described above for vocals. V ary the Compression Ratio , Attack and Release to suite your taste. Compressing acoustic guitar. It is sometimes easy to over co[...]

  • Page 26

    BASIC SETUP & APPLIC ATIONS 26 such as 2kHz to 8kHz , the Compressor will apply the Gain reduction more to the sibilance because it is now ' seeing ' more signal around the frequency of the sibilance. You will need to adjust the frequency of the equal izer to locate your source of sibilance more precisely. Parametric equalizers are mo[...]

  • Page 27

    TECHNICAL 4.1 Specifications Number of Channels..................................................................8 Dynamic Range........................................................................>115dB Sig nal to Noise Ratio.................................................................>95dB Headroom ............................+24dBu,[...]

  • Page 28

    TECHNICAL[...]