User manual RANE DC 22S

[. . . ] Regardless of the type of Input, you might need to set this switch so the INPUT LEVEL LEDs light correctly. Now increase the COMPRESSOR RATIO to something useful, like 2:1 (with the control set at 2, the Ratio is 2:1; at 5, it is 5:1. ) Adjust the COMPRESSOR THRESHOLD to the point you want the Compressor to kick in. If you want the quiet parts to be even quieter, increase the GATE THRESHOLD so only higher levels make it through the Gate. Both Gates and Compressors will activate by the source material applied to either channel if the LINK switch is on. [. . . ] RANE CORP. DC 22S WIRING 3-PIN XLR: · PIN 2 = (+), · PIN 3 = (­), · PIN 1 = CHASSIS (SHIELD) OUTPUT INPUT OUTPUT This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. INPUT 2 2 -10 dBV +4 dBu 1 1 -10 dBV +4 dBu R 1/4" PHONE, BALANCED: ACN 001 345 482 · TIP = (+), · RING = (­), · SLEEVE = CHASSIS (SHIELD) 100-240 V 50/60 Hz 7 WATTS 1/4" PHONE, UNBALANCED: · SEE THE RANENOTE: SOUND SYSTEM INTERCONNECTION BALANCED BAL/UNBAL BALANCED BAL/UNBAL BALANCED BAL/UNBAL BALANCED BAL/UNBAL DC 22S STEREO COMPRESSOR MONO SUBWOOFER TTM 56S MADE IN U. S. A. PATENT 6, 813, 361 COMMERCIAL AUDIO EQUIPMENT 24TJ R ACN 001 345 482 POWER MASTER OUTPUTS L TTM 56S MIXER 100-240V 50/60 Hz 20 WATTS OUT AUX L FlexFX IN L PHONO GROUNDS PGM 2 4 3 L L PGM 1 2 1 L PHONO 4321 BALANCED MIC RETURN R R BALANCED R SEND R R R EFFECTS OUTPUTS 1 4321 LINE TIP = SEND RING = RTN INPUTS LEFT RIGHT OUT IN UNBALANCED 4 3 2 LEFT RIGHT 0 10 LEVEL 0 10 LEVEL MONO OR BRIDGED AMP, MONO SUB System wiring example for a DJ system Manual-3 OPERATING INSTRUCTIONS A PRIMER Let's start with what a compressor actually does. It is a hand on a knob, turning the volume down and turning it up again. The hand is really quick and really accurate, but it's just turning a volume control. When the input signal reaches a level set by the COMPRESSOR THRESHOLD control, the compressor begins turning down the signal by an amount determined by the RATIO control. The DC 22S, like most compressors, operates by making the loud signals quieter, but does not make the quiet parts louder. However, by keeping the loud signals under control, the entire system may be turned up when necessary to make the quiet parts louder. PRE-FLIGHT CHECKLIST Before proceeding, it's a good idea to turn the control knobs to the following positions: 1. OUTPUT LEVEL . . . . . . . . . . . . . . . . . . . . . . . . 0 dB This renders the DC 22S with no compression, allowing signal through at unity gain. INPUT LEVEL Before making any Threshold adjustments, set the ouput level of the previous device so the +4 dBu LED lights occasionally, and the OL LED does not light. GATE THRESHOLD The threshold is the point at which gain adjustment begins. When the input signal is below the threshold, the DC 22S attenuates the signal at a 2:1 ratio, making the quiet parts twice as quiet. When the signal is above the Gate Threshold, the Gate is open, like a straight wire. COMPRESSOR THRESHOLD The threshold is the point at which gain adjustment begins. When the input signal is below the threshold, the Compressor section acts like a straight wire. When the signal is loud enough to cross the Compressor Threshold, the compressor is active and turns the volume down. How much it gets turned down is determined by the RATIO control ( Figure 1 shows a Ratio set at 2:1). RATIO AUDIO PRECISION 20 10 AMPL(dBr) VS AMPL(dBu) 09 AUG 101 14:34:57 10 0 -10 -20 -30 -40 O0 U T -10 P U -20 T -30 d B -40 u -50 -60 -60 -50 -40 -30 -20 INPUT (dBu) -10 0 10 20 Figure 2. Only Channel 1's controls are active, Channel 2 becomes the slave. RATIO relatively high, just enough to limit the peaks. Set the GATE THRESHOLD very low, though you might want to raise it just above the noise floor to get rid of tape hiss or processor noise. Of special interest are instruments which have large level differences in their tonal ranges. String pops on a bass are one example, shrill peaks on a flute are yet another. [. . . ] Determine the driver's maximum continuous average power rating in watts (W) (specified by the manufacturer). Determine the driver impedance "z" in ohms (specified by the manufacturer). Using the data in steps (1) and (2) above, calculate the maximum signal level in dBu that the driver can handle. Determine the gain of the amplifier in dB (if the amplifier has a level control , you may wish to measure the gain). [. . . ]