User manual PRESONUS VXP (FRONT)

[. . . ] During the warranty period PreSonus shall, at its sole and absolute option, either repair or replace, free of charge, any product that proves to be defective on inspection by PreSonus or its authorized service representative. To obtain warranty service, the purchaser must first call or write PreSonus at the address and telephone number printed below to obtain a Return Authorization Number and instructions of where to return the unit for service. All authorized returns must be sent to the PreSonus repair facility postage prepaid, insured and properly packaged. PreSonus reserves the right to change or improve the design of the product at any time without prior notice. [. . . ] The shelving contour accentuates the naturalness of the sound for better adjustment of vocal signals. The Peak Limit control adjusts the threshold point that the output signal is not allowed to cross. This benefits you by preventing overload of downstream devices such as DAT's and Hard Drives where signal overload is completely unacceptable. This is done without "squashing" the signal in an audibly apparent way like some peak limiters are prone to do. 8 OVERVIEW Ø Level. The output of the VXP (FRONT) (FRONT) is adjusted by the Level control and is useful for compensating for gain loss due to compression or to decrease output signal that boosting frequencies with the Equalizer section may have caused. A BIG RED lighted push-button power switch is located on the front of the VXP (FRONT) (FRONT) for your convenience. 9 2 CONTROLS & CONNECTIONS 2. 1 FRONT PANEL BASIC LAYOUT Notice that the front panel of the VXP (FRONT) (FRONT) is divided into six sections - section one is the Mic Preamp. The Mic Preamp section contains: · · · · · Gain Control IDSS Control +48 Volt Switch -20db Pad LED Input Meter 10 CONTROLS & CONNECTIONS Compressor Section contains: · · · · Pre-Set Selector Level Control Process In/Out Switch Gain Reduction Meter 11 CONTROLS & CONNECTIONS Expander Section: · · · Threshold Control (Outer Ring) Ratio Control(Inner Knob) LED Expansion Meter De-Esser Section: · Threshold (Outer Ring) 12 CONTROLS & CONNECTIONS · · Frequency (Inner Knob) Gain Reduction Meter 13 CONTROLS & CONNECTIONS EQ section: · · · · · · · · · · · 4 Band Semi-Parametric Low Shelving Control Low Mid Q Select Switch Low Mid Level (Outer Ring) Low Mid Frequency Select (Inner Knob) 80 Hz Filter Switch EQ In/Out Switch High Mid-Range Level Control(Outer Ring) High Mid-Range Frequency Control (Inner Knob) High Mid Q Switch High Shelving Control 14 CONTROLS & CONNECTIONS Master Section Includes: · · · Peak Limiter Control Level Control Limiter LED Meter 2. 2 MIC PREAMP SECTION GAIN: This control provides 60dB of gain. IDSS CONTROL: Selects the amount of increase (0% to 100%) applied to the even harmonic series of the signal being amplified by the VXP (FRONT) (FRONT). The effect of manipulating the harmonic distortion is of increasing or decreasing the apparent "warmth" of the signal. This feature is derived from manipulating the drain current of the FET input buffer of the Mic Preamp. Experiment with the IDSS control and see what type of sounds you can get from your present microphone selection. +48V: The 48 volts supplied by way of the XLR connector, provides power for condenser mics and any other devices requiring continuous 15 CONTROLS & CONNECTIONS Phantom power through the XLR input. The outer concentric knob adjusts the desired frequency up to +12dB or ­12dB, if desired. HI Q The position of the HI Q switch determines the width (shape) of the frequency being affected when boosting or cutting at the selected frequency with the level control. The widest bandwidth effect is available with the HI Q switch in the "OUT" (UN-depressed) position The value in the "OUT" (UN-depressed) position is a Q of 0. 5. By depressing the HI Q switch the width of the frequencies which are acted upon become greatly narrowed and the result is a much more precise tuning of the selected frequencies. When the HI Q switch is engaged the value changes to 2 and the width of 20 CONTROLS & CONNECTIONS the effect from the center frequency is 1/4 as wide. The HI Q OUT position is a much broader in its effect and the tonal variation derived is similar to a control you may have used on a hi-fi or guitar amplifier. When the HI Q switch is engaged, the effect on the frequency is much more specific. The selected frequency is reduced or increased in greater proportion than the nearest frequencies. This results in greater control over the particular frequency you are attempting to manipulate. This makes it possible for you to smooth out a harsh sounding vocal or to dial in just the right amount of, say, 2kHz to really make a voice pop out of the "mix" without having to push the fader all the way up. HIGH MID RANGE The High-Mid Range control is variable from 450 Hz to 5. 8 kHz. [. . . ] Psycho-acoustic dithering is provided to improve BIT resolution characteristics which may become noisy when conversion from 24 BIT to 16 BIT sampling is necessary. The ¼" TRS Line input will provide the benefit of allowing two VXP (FRONT) (FRONT)`s to share one Digital Output Card and in so doing, share both sides of the A/D converter. 25 4 TECHNICAL VXP (FRONT) (FRONT) Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ONE Dynamic Range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >115dB Noise Floor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . @ +12dB Gain -97. 2dBu Headroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]