PRESONUS HP4 Bedienungsanleitung

COMP16

SMART COMPRESSOR

HP4

HEADPHONE DISTRIBUTION

AMPLIFIER

EQ3B

3 BAND PARAMETRIC EQALIZER

USERS MANUAL

Version1.0

PreSonus Audio Electronics

COMP16

SMART COMPRESSOR

HP4

HEADPHONE DISTRIBUTION

AMPLIFIER

EQ3B

3 BAND PARAMETRIC EQALIZER

USERS MANUAL

Version1.0

?2003, PreSonus Audio Electronics, Incorporated.

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 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 inquiries must be accompanied

by a description of the problem. All authorized returns must be sent to the PreSonus repair facility

postage prepaid, insured and properly packaged. PreSonus reserves the right to update any unit

returned for repair. PreSonus reserves the right to change or improve the design of the product at

any time without prior notice. This warranty does not cover claims for damage due to abuse,

neglect, alteration or attempted repair by unauthorized personnel, and is limited to failures arising

during normal use that are due to defects in material or workmanship in the product. Any implied

warranties, including implied warranties of merchantability and fitness for a particular purpose, are

limited in duration to the length of this limited warranty. Some states do not allow limitations on how

long an implied warranty lasts, so the above limitation may not apply to you. In no event will

PreSonus be liable for incidental, consequential or other damages resulting from the breach of any

express or implied warranty, including , among other things, damage to property, damage based on

inconvenience or on loss of use of the product, and, to the extent permitted by law, damages for

personal injury. Some states do not allow the exclusion of limitation of incidental or consequential

damages, so the above limitation or exclusion may not apply to you. This warranty gives you specific

legal rights, and you may also have other rights which vary form state to state. This warranty only

applies to products sold and used in the United States of America. For warranty information in all

other countries please refer to your local distributor.

PreSonus Audio Electronics, Inc.

7257 Florida Blvd.

Baton Rouge, LA 70806

(225) 216-7887

TABLE OF CONTENTS

1Overview

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

3EQ3B

3.1 Front/Back Panel Basic Layout 17

3.2 Application Guide 19

4HP4

4.1 Front/Back Panel Basic Layout 21

4.2 Application Guide 23

5TechnicalSpecifications

5.1 COMP16 Specifications 24

5.2 EQ3B Specifications 25

5.3 HP4 Specifications 26

1 INTRODUCTION

1.1INTRODUCTION

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 attention to how you connect your PreSonus

Product to your system. Improper grounding is the most common

cause of noise problems in both live and studio applications. We

suggest you look at the application guides which are part of this

manual to insure optimum operation.

Good luck and enjoy your PreSonus Product!

PRESONUS

2.1A WORD ABOUT COMPRESSION

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 resulting in signal distortion. A

compressor/limiter is a type of amplifier in which gain is dependent

on the signal level passing through it. You can set the maximum

level a compressor/limiter allows to pass through, thereby causing

automatic gain reduction above some predetermined signal level

or threshold.

Compression refers basically to the ability to reduce the output

level of an audio signal by a fixed ratio relative to the input. It is

useful for lowering the dynamic range of an instrument or vocal,

making it easier to record without distorting the recorder. It also

assists in the mixing process by reducing the amount of level

changes needed for a particular instrument. Take, for example, a

vocalist who moves around in front of the microphone while

performing, thus making the output level vary up and down

unnaturally. A compressor can be applied to the signal to help

correct this recording problem by reducing the ‘louder’ passages

enough to be compatible with the overall performance.

How severely the compressor reduces the signal is determined by

the compression ratio and compression threshold. A ratio of 2:1 or

less is considered mild compression, reducing the output by two

for signals greater than the compression threshold. Ratios above

PRESONUS

10:1 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 a performance.

(‘Over compression’, however, is used by some engineers as an

effect, and with killer results!)

Compressor/limiters are commonly used for many audio

applications. A kick drum can get lost in a wall of electric guitars.

No matter how much level is increased, the kick drum stays ‘lost in

the mud’. Add a touch of compression and tighten up that kick

drum sound allowing it to ‘punch’ through without having to crank

the level way up.

A vocal performance usually has a wide dynamic range.

Transients (the very loudest portion of the signal) can be far

outside the average level of the vocal signal. It is extremely difficult

to ride the level with a console fader. A compressor/limiter

automatically controls gain without altering the subtleties of the

performance.

A solo guitar can seem to be masked by the rhythm guitars.

Compression can make your ‘lead’ soar above the track without

shoving the fader through the roof .

Bass guitar can be difficult to record . A consistent level with good

attack can be achieved with proper compression . Your bass

doesn’t have to be washed out in the low end of the mix . Let the

compressor/limiter give your bass the punch it needs to drive the

bottom of the track .

PRESONUS

2.2COMP16FRONT PANEL BASIC LAYOUT

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 input control is always active.

3. Output & Pushbuttons

The Output control is used to set the desired output of the

COMP16. It is sometimes referred to as ‘gain makeup’

control. This term is derived from the fact that as the

PRESONUS

compressor lowers the output level during gain reduction,

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 pushed in, the

COMP16 is no longer compressing the signal, however the

input gain setting remains active.

2.2COMP16 BACK PANEL LAYOUT

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