Manuel d'utilisation / d'entretien du produit ACP88 du fabricant PRESONUS
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ACP88 Eight Channel Compressor/Limiter/Gate User ’ s Manual Version 1.2.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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 .
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.
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.
BASIC SETUP & APPLIC ATIONS 3.1 Some Basic P atching Inserting into your mixers inser t points.
BASIC SETUP & APPLIC ATIONS Between multi - track recorder inputs/outputs to mixer outputs/inputs, unbalanced..
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.
BASIC SETUP & APPLIC ATIONS 23 out , Gate Threshold knob is fully counter - clockwise, Compressor Ratio knob is set to 1:1 ( fully counter clockwise ).
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.
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.
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.
TECHNICAL 4.1 Specifications Number of Channels..................................................................8 Dynamic Range........................................................................>115dB Sig nal to Noise Ratio...................
TECHNICAL.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté PRESONUS ACP88 c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du PRESONUS ACP88 - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation PRESONUS ACP88, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le PRESONUS ACP88 va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le PRESONUS ACP88, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du PRESONUS ACP88.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le PRESONUS ACP88. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei PRESONUS ACP88 ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
