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COMP16
SMART COMPRESSOR
HP4
HEADPHONE DISTRIBUTION
AMPLIFIER
EQ3B
3 BAND PARAMETRIC EQALIZER
USERS MANUAL
Version 2.0
PreSonus Audio Electronics
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COMP16 SMART COMPRESSOR HP4 HEADPHONE DISTRIBUTION AMPLIFIER EQ3B 3 BAND PARAMETRIC EQALIZER USERS MANUAL Version 1.0 © 2003, PreSonus Audio Electronics, Incorporated. All rights reserved.
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WARRANTY PreSonus Limited Warranty 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. To be protected by this warranty, the purchaser must complete and return the enclosed warranty card within 14 days of purchase. During the warranty period PreSonus shall, at its sole and absolute option, either re
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TABLE OF CONTENTS 1 Overview 1.1 Introduction 4 2 Comp16 2.1 A Word About Compression 5 2.2 Front/Back Panel Basic Layout 7 2.3 Presets 9 2.4 Application Guide 14 3 EQ3B 3.1 Front/Back Panel Basic Layout 17 3.2 Application Guide 19 4 HP4 4.1 Front/Back Panel Basic Layout 21 4.2 Application Guide 23 5 Technical Specifications 5.1 COMP16 Specifications 24 5.2 EQ3B Specifications 25 5.3 HP4 Specifications 26 3
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1 INTRODUCTION 1.1 INTRODUCTION Thank you for purchasing this PreSonus Product. Your product was designed with you, the end user in mind. This device was built with state of the art components to deliver crystal clear audio for an infinite period of time. We believe this unit to be an exceptional sounding unit at an exceptional price. We hope you agree. Feel free to contact us at 1-800-750-0323 anytime for any reason. We value your comments and suggestions. Please pay close at
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PRESONUS 2 . 1 A W O RD ABOUT COMPRESSI ON Punch, apparent loudness, presence… just three of many terms used to describe the effects of compression/ limiting. Compression and limiting are forms of dynamic range (volume) control. Audio signals have very wide peak to average signal level ratios (sometimes referred to as dynamic range which is the difference between the loudest level and the softest level). The peak signal can cause overload in the audio recording or reproduction chain
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PRESONUS are considered hard limiting. Limiting refers to the point at which the signal is restrained from going any louder at the output. The level of input signal at which the output is reduced is determined by the compression threshold. As the compression threshold is lowered, more and more of the input signal is compressed (assuming a nominal input signal level). Care must be taken not to ‘over compress’ a signal. Too much compression destroys the acoustical dynamic response of
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PRESONUS 2 . 2 COMP1 6 FRONT PANEL BASI C L A Y O UT The front panel on the COMP16 is divided into three sections. These are: 1. Presets: Sixteen selectable preset positions. The Presets for the COMP16 are controlled by this sixteen position rotary encoder. As the encoder is rotated, parameters are digitally switched, simultaneously controlling attack, release, ratio and threshold. 2. Controls: The Input control adjusts the gain on the input amplifier. Note: The i
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PRESONUS the overall signal level is lowered, requiring the user to ‘makeup’ the gain thereby restoring the original signal level. Output to Meter This button selects the function of the Output/Gain Reduction meter. Pushed out, the meter gives you the level of the gain reduction. Pushed in, the meter gives you the level of the signal after compression; the output level. Bypass If the BYPASS button is not pushed in, the COMP16 is processing the signal (compressing). When pu
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PRESONUS Input The input jack accepts balanced/unbalanced tip-sleeve or tip-ring-sleeve connectors or XLR connectors. The input can handle up to +22dBu unbalanced levels. Output The output jack accepts (balanced/unbalanced) tip-sleeve, tip-ring-sleeve or XLR connectors. The output will deliver up to +22dBu in signal level unbalanced. 2 . 3 PRESETS Vocal 1 SOFT - Easy compression. A low ratio setting for ballads allowing a wider dynamic range. Good for ‘live’ use. This set
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PRESONUS -3.3dB 2.8:1 0.002mS 38mS 3 SCREAMER - For loud vocals. Fairly hard compression for a vocalist who is ‘on’ and ‘off’ the microphone a lot. It puts the voice ‘in your face’. Threshold Ratio Attack Release -1.1dB 3.8:1 0.002mS 38mS Perc. 1 SNARE/KICK - Allows the first transient through and compresses the rest of the signal giving a hard snap up front with a longer release. Threshold Ratio Attack Release -2.1dB 3.5:1 78mS 300mS 2 L/R (Mono) OVERHEAD - A low rati
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PRESONUS Threshold Ratio Attack Release -4.4dB 2.6:1 45.7mS 189mS 2 ACOUSTIC GUITAR - This setting accentuates the attack of the acoustic guitar and helps maintain an even signal level keeping the acoustic guitar from disappearing in the track. Threshold Ratio Attack Release -6.3dB 3.4:1 188mS 400mS 3 ELECTRIC GUITAR - A setting for ‘crunch’ electric rhythm guitar. A slow attack helps get the electric rhythm guitar up close and personal and gives punch to your crunch. Threshold
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PRESONUS 3 ORCHESTRAL - Use this setting for string ‘pads’ and other types of synthesized orchestra parts. It will decrease the overall dynamic range for easier placement in the mix. Threshold Ratio Attack Release 3.3dB 2.5:1 1.8mS 50mS Limit 1 MONO LIMITER - Just as the name implies. A hard limiter setting (brick wall) ideal for controlling level to the 2 track mixdown deck or Mono output. Threshold Ratio Attack Release 5.5dB 7.1:1 0.001mS 98mS 2 CONTOUR - A contoured
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PRESONUS 2 PUMP - Make the COMP16 ‘pump up the prime’. A setting for making the compressor pump in a desirable way. This effect is good for snare drum to increase the length of the transient by bringing the signal up after the initial spike. Very contemporary. Threshold Ratio Attack Release 0dB 1.9:1 1mS 0.001mS 3 Tamer – Tame that funky low end. Designed to help control low end transients. This setting is especially useful for Bass Guitar. Threshold Ratio Attack Release -8dB 2
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PRESONUS 2 . 4 APPL I C ATI O N GUI D E QUI C K START 1. Connect your COMP16 using one input jack (TS, TRS, or XLR) and one or more of the output jacks(TS, TRS, or XLR). 2. Select your preset. (Refer to the preset descriptions above. Remember that the Ratio, Attack and Release knobs are only active in Manual mode.) 3. Do not push the bypass button in. 4. Turn the Input knob all the way to -20 (counter-clockwise). 5. Set the Output knob on 0. 6. Slowly turn the Input knob up (
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PRESONUS BASI C CONNECTI O NS The COMP16 can be hooked to another processor, such as the EQ3B or TubePre in a live or studio environment. Please note that a microphone can not be plugged directly into the COMP16. The microphone has to be preamplified first. The TubePre would be a perfect preamp in front of the COMP16. We do recommend that whenever possible, balanced cables be used. Examples of balanced cables would be XLR or TRS (Tip – Ring – Sleeve). A balanced cable is preferred be
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PRESONUS BASIC OPERATING PROCEDURES Setting Compression Amount Your COMP16 was designed with a fixed threshold mode of operation. This differs from other compressors in the fact that there is no threshold control. This offers the unique ability to immediately hear the sometimes subtle differences between presets which each have unique threshold settings. In setting the compression amount, always begin with the Input control all the way counter-clockwise (-20dB), and slowly increas
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PRESONUS 3 . 1 EQ3 B FRONT PANEL BASI C L A Y O UT The front panel on the EQ3B is divided into three sections. These are the three bands of equalization: There is a frequency selection knob (Hz), gain/gain reduction(dB) (amplitude) knob and a Q control. The frequency selection knob (Hz) allows the user to choose the center frequency of that band of the EQ. The Q knob allows the user to alter the width of the frequency being adjusted. Q is defined as the ratio of the center frequ
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PRESONUS Figure1 Bypass If the BYPASS button is not pushed in, the EQ3B is processing the signal (equalizing). Pushed in, the EQ3B is no longer equalizing the signal. 80Hz The 80Hz button is a low end roll off filter. When pushed in, the 80Hz button causes all frequencies below 80Hz to be attenuated (dropped) by 12dB. This filter can be handy in several live and studio applications. One instance would be for use on a vocal. The 80Hz filter would help reduce the “boominess”
