ASHLYowner’s manualCL-100 CL-50E CL52E LIMHER/COMPRESSORSASHLY AUDIO, INC^
The Ashly CL-50E^ Compressor/LimiterGAINAdjusts the input sensitivity so gain control action starts at the proper signal level.ATTACKAdjusts the speed
Two important features emerged from this research:1. We designed the detector to let the attack and release times speed up as more and more limiting
tnstalling the CL-50E for use in a sound sysfen? with a passive crossoi'er.Since speaker diaphragms are subject to the laws of physics, they won’
2. Adjust equalizer controls to a flat setting, and if the equalizer has an overall volume control, boost it by 10 to 15 dB,3. Open up several micro
vicinity of the sibilant, the limiter’s detector circuit becomes more sensitive to this particular range of frequencies, and so will limit the bothers
Voice-Over Compression ("Ducking")The CL-SERIES can be used to automatically reduce music to a background level when an announcer is speakin
The concept of stereo operation is sometimes confusing, but it is less difficult to understand if you keep a few basic rules in mindWhen the switch is
GLOSSARYACTIVEEtectranic circuits which use devices such as transistors and integrated circuits, and which are capable of voltage and power
We thank you for your expression of confidence in Ashty products. The unit you have purchased is protected by a five-year warranty. To establish the w
TABLE OF COWranSIntroduction...2If You Are In A Hurry...2Mechanic
IMTBODUCTIONThe Ashly CL-SERIES of Peak Compressor/Limiters was designed in response to the need for a universal peak-sensitive automatic gain control
ohms, and fiill headroom is realized with any load of600 ohms or greater. For rack-mounted unbalanced audio ^^ms the output ground may be separated fr
been reached. For veiy fast transients, such as hand claps, snare drums, or other percussive soimds, a very fast attack time is usually desirable so
INITIAL SETUP AND CHECKOUTExact control of system headroom requires defining the clipping point of the amplifiers in relation to the nominal zero VU o
Comparison of the dynamic range of several common audio systems.At the other end of the loudness spectrum, the limitation on dynamic range is usually
To determine which peaks are acceptable and which are too loud, the limiter establishes a reference level known as Ihe threshold, and then responds to
disadvantages peculiar to tubes—change of gain and matching as aging took place, heat, microphonics, high cost, and the need for both high- voltage an
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