User manual PRESONUS VXP (BACK)

[. . . ] The presets are maximized for vocal applications, but according to PreSonus, they are useful in other applications as well. The manual doesn't disclose the individual presets' exact parameters, but it does give ratio ranges for the three groupings - Light 1. 1:1 to 1. 5:1, Medium 1. 6:1 to 2:1, and Heavy 2. 5:1 to 8:1 - as well as general applications. The compressor's input and output (make-up) gain controls are located on a concentric, dual-pot control. By letting the signal level's adjustment be above or below a preset threshold (determined by the compressor preset), the input-gain knob functions essentially as a threshold control - a rather important point the manual fails to mention. [. . . ] CARD-CARRYING MEMBER I tested two VXP (BACK) (BACK)s: one with the digital card packaged separately and one with the card already in place. The output card is a stereo converter, meaning that you need to buy only one card to record digitally from a pair of VXP (BACK) (BACK)s. Just the same, I wanted to try my hand at installing the VXP (BACK) (BACK)D2496 in the stock unit. The module was in place in less than ten minutes, and the only difficulty I had was getting some screws out, thanks to the VXP (BACK) (BACK)'s solid construction. VXP (BACK) (BACK) Specifications Inputs (1) balanced XLR (mic); (2) balanced/unbalanced 1/4" TRS (send and receive) Outputs (1) balanced XLR; (1) balanced/unbalanced 1/4" TRS Power Supply internal Dimensions 1U 5 7" (D) Weight 8 lbs. PreSonus Audio Electronics | 7257 Florida Blvd, Baton Rouge, LA 70806 T 225. 216. 7887 F 225. 926. 8347 | www. presonus. com Product Reviews MIC PREAMP Frequency Response 10 Hz-50 kHz THD + Noise (0% IDSS) <0. 003% THD + Noise (100% IDSS) >0. 5% Noise Floor -97. 2 dBu (@ +12 dB gain) Dynamic Range >115 dB Headroom +24 dBu Maximum Gain 36 dB (+12 to + 48 dB) Attenuation Pad 20 dB (switchable) Phantom Power 48V COMPRESSOR Input Attenuation/Gain -12 to +18 dB Output Attenuation/Gain -20 to +20 dB Presets 16 EXPANDER Threshold Range -70 to +20 dBu Ratio Range 1:1 to ·:1 DE-ESSER Threshold Range -40 to +20 dBu Frequency Range 800 Hz to 8 kHz EQUALIZER Rumble Filter Cutoff Frequency 80 Hz (-6 dB per octave) Low Shelving 100 Hz (±12 dB) Low Midrange 90 Hz-700 Hz (±12 dB) Low-Mid Q (Bandwidth) 0. 5/2. 0 octave (switchable) High Midrange 450 Hz-5. 8 kHz (±12 dB) High-Mid Q (Bandwidth) 0. 5/2. 0 octave (switchable) High Shelving 12 kHz (±12 dB) MASTER Peak Limit Range 0 to +24 dBu Output Fader -70 to +10 dB The VXP (BACK) (BACK)D2496 is truly a marvel of miniaturization. It provides AES/EBU and S/PDIF output jacks, BNC word-clock In and Out, a _-inch TRS right-channel analog in, an internal/external sync LED, and separate bit-rate and sampling-frequency selector switches. Green LEDs indicate selected bit rates of 16, 18, 20, and 24, in addition to all common sampling frequencies (44. 1, 48, 88. 2, and 96 kHz). All that, two PC boards, and a Crystal Semiconductor 5396 converter chip are mounted on a 1_-by-4_-inch panel that attaches to the VXP (BACK) (BACK) chassis with two Phillips screws. The PreSonus Audio Electronics | 7257 Florida Blvd, Baton Rouge, LA 70806 T 225. 216. 7887 F 225. 926. 8347 | www. presonus. com Product Reviews VXP (BACK) (BACK)D2496 comes with a three-page manual, which includes installation instructions, brief operating notes, and specifications. When using two VXP (BACK) (BACK)s in tandem, the unit housing the VXP (BACK) (BACK)D2496 module is automatically assigned to the left digital channel and the other VXP (BACK) (BACK) (or any other preamp, for that matter) must be connected to the TRS right-channel analog input on the converter card. The converter could also be used on a line-level stereo mix by applying the left and right mix-bus outputs to the insert-return jacks of two VXP (BACK) (BACK)s. The relatively simple de-esser and expander functions are useful and perform on par with the best-available modules found in other multi-effects dynamics processors. The de-esser is easy to fine-tune, but the lack of a bypass switch makes A/B comparisons awkward. Considerable finesse is required to twist the outer ring, which controls threshold, to the off position without accidentally moving the inner knob, which selects the de-ess frequency. Furthermore, that dial's only intermediate numerical value is a zero marking at about two o'clock, which again complicates repeatability. Similarly, the expander controls have no intermediate marks except for a 2:1 ratio designation. FULL STEAM AHEAD The VXP (BACK) (BACK)'s 4-band equalizer - a first on any PreSonus product - is also quite effective and remarkably lavish, especially considering the unit's price. Although there was no special magic in the high-shelf range, the low-shelving control let me make beefy bass boosts without adding unwanted flab to a mix. In addition, the high Q option provided enough surgical precision to reveal previously unheard mixing and mastering flaws in some of my older recordings. I also compared the inexpensive VXP (BACK) (BACK)D2496 to the A/D on the Apogee PSX-100, a much higher-end converter. For that test, I recorded music samples to DAT through the VXP (BACK) (BACK)D2496, followed by the same samples with identical preamp settings through the PSX-100. With the Apogee converter as the only variable in the signal chain, the level to DAT dropped dramatically. [. . . ] At microphone or line level, there is plenty of headroom for analog or digital output (the latter for using the optional VXP (BACK) (BACK)D2496 converter card). I was also impressed with both the flexibility and transparency of the VXP (BACK) (BACK)'s peak limiter. Personal-studio operators and picky professionals should note the VXP (BACK) (BACK)'s competitive sound quality. To pack such a dense array of features into the VXP (BACK) (BACK)'s single-rackspace control surface, PreSonus used concentric dual-function pots in the dynamic and EQ processing sections. [. . . ]