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PRESONUS COMP16 manual

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Table of contents for the manual

  • Page 1

    COMP16 SMART COMPRESSOR HP4 HEADPHONE DISTRIBUTION AMPLIFIER EQ3B 3 BAND PARAMETRIC EQALIZER USERS MANUAL V ersion 2.0 PreSonus Audio Electronics[...]

  • Page 2

    [...]

  • Page 3

    COMP16 SMART COMPRESSOR HP4 HEADPHONE DISTRIBUTION AMPLIFIER EQ3B 3 BAND PARAMETRIC EQALIZER USERS MANUAL V ersion 1.0 © 2003, PreSonus Audio Electronics, Incorporated. All rights reserved.[...]

  • Page 4

    WARRANTY 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 purchas er. To be protected by this warranty, the purchaser must complete and return t[...]

  • Page 5

    TABLE OF CONTENTS 3 1 Overview 1.1 Introduction 4 2 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 T echnical S pecifications 5.1 COMP16 Specific[...]

  • Page 6

    1 INTRODUCTION 4 1.1 INTRODUCTION 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 per iod of time. We believe this unit to be an exceptional sounding unit at an exceptional price. We hope yo[...]

  • Page 7

    PRESONUS 5 2.1 A W ORD ABOUT COMPRESSION 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 di[...]

  • Page 8

    PRESONUS 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 wh ich 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 [...]

  • Page 9

    PRESONUS 7 2.2 COMP16 FRONT PANEL BASIC LAYOUT 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 cont rolled by this sixteen position rotary encoder. As the encoder is rotated, parameters are digitally switc hed, simultaneously controlling attack,[...]

  • Page 10

    PRESONUS the overall signal level is lo wered, requiring the user to ‘makeup’ the gain thereby restoring the original signal level. Output to Meter This button selects the f unction 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 co[...]

  • Page 11

    PRESONUS 9 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 (bal anced/unbalanced) tip-sleeve, tip-ring-sleeve or XLR connectors. The output will deliver up to +22dBu in signal level unbalanced. 2.3 PRESETS[...]

  • Page 12

    PRESONUS -3.3dB 2.8:1 0.002mS 38mS SCREAMER - For loud vocals. Fair ly hard compression for a vocalist who is ‘on’ and ‘off’ the microphone a lot. It puts the voice ‘in your face’. Threshold Ratio Attack Release -1.1dB 3.8:1 0.002mS 38mS Perc. SNARE/KICK - Allows the first transient through and compresses the rest of the signal giving a[...]

  • Page 13

    PRESONUS 11 Threshold Ratio Attack Release -4.4dB 2.6:1 45.7mS 189mS ACOUSTIC GUITAR - This setting accentuates the attack of the acoustic guitar and helps mainta in an even signal level keeping the acoustic guitar from disappearing in the track. Threshold Ratio Attack Release -6.3dB 3.4:1 188mS 400mS ELECTRIC GUITAR - A setting for ‘crunch’ el[...]

  • Page 14

    PRESONUS ORCHESTRAL - Use this setting for string ‘pads’ and other types of synthesized orchestra par ts. It will decrease the overall dynamic range for easier placement in the mix. Threshold Ratio Attack Release 3.3dB 2.5:1 1.8mS 50mS Limit MONO LIMITER - Just as the name imp lies. A hard limiter setting (brick wall) ideal for contro lling lev[...]

  • Page 15

    PRESONUS 13 PUMP - Make the COMP16 ‘pump up the prime’. A setting for making the compressor pump in a des irable way. This effect is good for snare drum to increase t he length of the transient by bringing the signal up after the initial spike. Very contemporary. Threshold Ratio Attack Release 0dB 1.9:1 1mS 0.001mS 3 Tamer – Tame that funky l[...]

  • Page 16

    PRESONUS 14 2.4 APPLICATI ON GUIDE QUICK START 1. Connect your COMP16 using one input jack (TS, TRS, or XLR) and one or more of t he 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.[...]

  • Page 17

    PRESONUS 15 BASIC CONNECTIONS The COMP16 can be hooked to another processor, such as the EQ3B or TubePre in a live or st udio 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 t he COMP16. We do recommend that wheneve[...]

  • Page 18

    PRESONUS BASIC OPERATING PROCEDURES 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 sometime s subtle differences between presets which each have unique threshold se[...]

  • Page 19

    PRESONUS 17 3.1 EQ3B FRONT PANEL BASI C LAYOUT The front panel on the EQ 3B 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 t he center frequency of that band of t[...]

  • Page 20

    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 s[...]

  • Page 21

    PRESONUS 19 3.1 BACK PANEL BASIC L AYOUT 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 (bal anced/unbalanced) tip-sleeve, tip-ring-sleeve or XLR connecto rs. The output will deliver up to +24dBu in signa[...]

  • Page 22

    PRESONUS The EQ3B can be connected to an insert point on a console (mixer) by using a TRS Y-cable. This cable is Y-shaped, has a single TRS ¼” jack on one end and tw o ¼” TS (Tips-Sleeve) jacks on the other end. The single end will look like a stereo ¼” connector jack. This end of the cabl e plugs into the insert jack on the mixer channel.[...]

  • Page 23

    PRESONUS 21 4.1 HP4 FRONT PANEL BASI C LAYOUT 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[...]

  • Page 24

    PRESONUS 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 us er to hit one button rather than turn down the volume k nob for the Monitor Level. A good use of this button would be for recording in front of a computer or DAW. When a mi c is on,[...]

  • Page 25

    PRESONUS 23 4.2 APPLICATI ON GUIDE 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 w ould be a TRS (Tip – Ring – Sleeve). A balanced cable is prefe rred because it generally has a greater lev[...]

  • Page 26

    PRESONUS 5.1 COMP16 SPECIFICATIONS Number of Channels ...................................................... 1 Dynamic R ange .................................................. >115dB Signal to Noise Ratio ............................................ >95dB Headroom ........................................................... +22dBu Frequency R[...]

  • Page 27

    PRESONUS 25 5.2 EQ3B SPECIFI CATIONS Number of Channels ...................................................... 1 Dynamic R ange .................................................. >115dB Signal to Noise Ratio ............................................ >95dB Headroom ........................................................... +22dBu Frequency[...]

  • Page 28

    PRESONUS 5.3 HP4 SPECIFI CATIONS Number of Channel s ......................................... 1 in 5 out Dynamic R ange .................................................. >115dB Signal to Noise Ratio ............................................ >95dB Headroom ........................................................... +22dBu Frequency Res po[...]