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C C l a s s S i g n a l P r o c e s s o r s
PRE-SET STEREO COMPRESSOR
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Safety Instructions/Consignes de sécurité/Sicherheitsvorkehrungen/Instrucciones de seguridad WARNING: To reduce the risk of fire or electric shock, do not expose this unit to rain ATTENTION: Pour éviter tout risque d’électrocution ou d’incendie, ne pas exposer or moisture. To reduce the hazard of electrical shock, do not remove cover or back. cet appareil à la pluie ou à l’humidité. Pour éviter tout risque d’électrocution, ne pas No user serviceable parts inside. Please refer all servicing to
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ENGLISH Table of Contents Inhalt Introduction 2 Einleitung 38 C com 16 Features 39 C com 16 Features 3 Regler und Funktionen Controls and Functions Vorderseite 40 Front Panel Layout 4 Rückseite 41 Rear Panel Layout 5 Schnellstart 42-43 Quick Start 6-7 Setup 42 Set-Up 6 Voreinstellungen 43 Default positions 7 C com 16 bedienen8 Operating the C com 16 8 C com 16 anschließen 44 Connecting the C com 16 8 Eingangs- und Ausgangspegel einstellen 44-45 Setting Input and Output Levels 8-9
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Introduction Congratulations on purchasing the C com 16, pre-set stereo compressor by Samson Audio! The C com 16 is a compact, high-quality device that provides extensive dynamics processing and control that has previously only been found in expensive outboard devices. The C com 16 is the easiest to operate compressor ever made. Period! The easy operation makes the C com 16 the perfect solution for dynamics processing in live sound, and also, particularly for tracking in recording situations
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ENGLISH C com 16 Features The Samson C Com 16 dynamics processor utilizes the latest technology in gain management design. Here are some of its main features: • F ull featured, stereo dynamics processor with 15 Pre-sets covering a full range of typical compression jobs for live sound and recording. • U ser programmable MANUAL mode with variable control of SENSITIVITY, ATTACK, RATIO, RELEASE and OUTPUT. • Selecting a pre-set PROGRAM is easy by using the 16-position, rotary PROGRAM selection co
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C com 16 Front Panel Layout C com 16 Front Panel Layout 1 PR OGRAM LED’S 1- 8 – When illuminated, indi- 8 OUTPUT - Used to set the final level after the com- cates the associated Program (1-SMOOTH VOCAL, pression circuit is applied. 2-AGGRESSIVE VOCAL, 3-BASS, 4-SLAP BASS, 5- ACOUSTIC, 6-FUNK GUITAR, 7-SUSTAIN, 8-PERC 1) is 9 INPUT/OUTPUT METER - Six segment LED meter selected. displays the Input or Output signal level based on the settings of the I/O meter switch. 2 PROGRAM LED’S 9-16 –
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ENGLISH C com 16 Rear Panel Layout C com 16 Rear Panel Layout A AC INLET - The included AC power supply is con- E KE Y INSERT – 1/4-inch TRS (TIP/RING/SLEEVE) nected here. phone input/output connector used to exter- nally process the compressors trigger signal. B LEFT OUTPUT - 1/4-inch, TRS (TIP/RING/SLEEVE) phone connector for the LEFT line-level, balanced F LEFT/MONO INPUT - 1/4-inch phone con- output. nector for the LEFT (in stereo operation) or MONO line-level inputs. C R
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QUICK START Quick Start - Set-up Setting up your C com 16 is a simple procedure, which takes only a few minutes. There are many ways to interface the C com 16 with various recording or live sound set-ups, so take some time to decide which audio devices you want to con- nect. The following section shows a simple set-up for a typical live sound system with a C com 16 connected to a mixer, CD player and two powered PA monitors. Remove all packing materials (save them in case of need for future s
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ENGLISH QUICK START Quick Start - Set-up - continued • Plug the C com16’s power pack into a wall outlet and switch the unit on by pressing the power switch. • Next, turn on your mixer, but don’t turn on your power amp or powered monitors just yet. Quick Start - Default Position • Set the controls to the following default positions: PROGRAM SELECTOR – 16 MANUAL RELEASE -5 (fully clockwise) SENSITIVITY – -40 (fully counter-clockwise) METER SWITCH – IN RATIO – 1:1 OUTPUT LEVEL – -20 dBu (fully co
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Operating The C com 16 Connecting the C com 16 The C com 16 can be easily connected to most any audio device thanks to the use of standard 1/4-inch phone connectors, and to the +4/-10 switch input level switch. You can use your C com 16 in a mixers insert point, or in-line between your instrument or other line level audio device. Once you decide what signal you will be con- necting to your C com 16, you can choose your wiring and level setting. To do this, follow the sections below. For a
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ENGLISH Operating The C com 16 Setting Input and Output Levels - continued SENSITIVIT Y 6 6 It is impor tant to undertstand how the C com 16’s SENSITIVITY control works since it has a dual purpose. First, to control the input level, and second, to control the relative threshold level for the comressor cicuit. The C com 16 has a fixed threshold level and by using the SENSITIVITY control you can adjust the relative threshold level and thereby the total amount of gain reduction. Slowly rai
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Operating The C com 16 Using the Program Pre-sets - continued PROGR AM Control 9 The PROGRAM control is used to select one of the 15 pre-sets, or the MANUAL mode. When you dial through the pre-sets using the PROGRAM control, you will see the corresponding PRESET LED turn from RED to GREEN. • Follow the section above, “SETTING UP THE C Com 16” for nor- malizing the controls, and the section “Setting Input and Output Levels” to set the starting input and output levels. 9 • Press the
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ENGLISH Operating The C Com 16 Operation the C com 16 In MANUAL Mode - continued 12 RELEASE 12 T he RELEASE control is used to set how long the compressor takes to return the input signal back to its original level once the signal falls below the threshold level. The C com 16’s range for release time is from 50ms to 5 seconds. Compressing a Signal in Manual Mode C Com16’s compressor section can be used for a variety of gain management tasks including printing signals to a multi-track rec
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Operating The C Com 16 USING THE ENHANCER ENHANCER 13 T he C Com 16’s ENHANCER switch can be engaged to activate the EFR (Enhanced Frequency Recovery) circuit. By engaging the ENHANCER, the C Com 16 EFR restores the high frequency content that can be lost when high gain reduction is applied. The C Com 16 EFR achieves this by adding back the high-end of the original signal in an amount that is equal to the amount of gain reduction. • F ollow the section above, “SETTING UP THE C Com 16” for
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ENGLISH Dynamics Processing 101 To begin to understand dynamics processing, we must first understand what dynamics are. Dynamics, or the dynamic range of a signal or audio device, is the amount of level between the softest and loudest possible output. Dynamics pro- cessing is applied to a signal to manage the changes in level. Various types of processing units are available to control dynamics including Noise Gates, Expanders, Compressors, Limiters and De-Essers. All of these processes have
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Dynamics Processing 101 - Continued Soft-Knee / Hard-Knee In order to prevent harsh, unnatural envelopes on compressed signals, sophisticated dynamics processors like the C Com 16 feature an SKD (Smart Knee Detector) or automatic knee circuit. The Smart Knee Detector automatically switches from Soft-Knee when the signal is less than 10 dB over threshold, to Hard-Knee when the signal is 10db above threshold. In Soft-Knee mode, there is a gradual affect on gain change, which begins as the sign
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ENGLISH Applications Leveling a Vocal Track When recording a vocal track, the vocalist may change the distance between them and the microphone, or they may naturally have a lot of dynamic range in their performance. In either case, the sound engineer must decide how much compression should be used to balance the natural performance and printing a good level to tape or disk. In PROGRAM mode you can use the PROGRAM pre-set, 1- SMOOTH VOCAL. In MANUAL mode, set up the C Com 16 with a medium at
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C Com 16 System Set-Ups LIVE SOUND SYSTEM WITH STEREO COMPRESSION In this example, the C Com 16 is inserted after the mixer and before the graphic equalizer, thereby compressing the full range signal from the mixer. COMPRESSION SUBGROUPS ON INSERT POINTS In this example, two C Com 16’s are connected to the the mixer’s insert points on the subgroup outputs. By assigning the channel inputs to the subgroups, you can individually compress a submix, such as the drums, and seperately compress a s
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ENGLISH C Com 16 Connections CONNECTING THE C Com 16 There are several ways to interface the C Com 16 to support a variety of applications. The C Com 16 features servo-bal- anced inputs and outputs, so connecting balanced and unbalanced signals is possible without any signal loss. The C Com 16 can be used on a single instrument by connecting to a channels insert points, or on an entire mix "in-line" between a mixer’s outputs and a power amp or equalizer. INSERT POINTS Many mixers today provide
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Tilting and Stacking the C com 16 Installing the Tilting Feet You can install the tilting rubber feet included with your C com 16 so that you can set the unit at a com- fortable operating angle on a workstation or desktop. Follow the simple instructions below to install the tilt- ing feet. • Remove the bottom screw from right front bumper. • Iden tify the right tilting foot by the locating “R” marking on the inside top. • Position the angled foot under the right bum- per as shown in the
