ACP88 Owner`s Manual English
Contents
1. 41 Spec d O e vetae steht ahaha E E achat dine eal ENER 21 42 BOCK P gan spasere ARES 22 OVERVIEW 1 1 INTRODUCTION Thank you for purchasing the PreSonus ACP 88 multi channel dynamics processor Your processor was designed using state of the art components to deliver crystal clear compression and noise gating for an infinite period of time We believe the ACP 88 to be an exceptional sounding unit and an exceptional value Feel free to contact us at 1 800 750 0323 anytime for any reason We value your suggestions and your comments PreSonus Audio Electronics is committed to constant product improvement and feel the best way to accomplish this task is by listening to the experts on our gear our valued customers We appreciate the support you have shown us through the purchase of our products Please pay close attention to how you connect your ACP 88 to your system Improper grounding is the most common cause of noise problems found in studio or live sound systems We urge you to scan this manual before hooking up your ACP 88 to become familiar with its features and various applications Good luck and enjoy your ACP 88 1 2 FEATURES The following is a summary of your ACP 88 s features e Eight Compressors Limiters Each channel of your ACP 88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression You have broad control over Threshold Ratio Attack and Release for each processor You can sel2. most common use of a compressor is to control the dynamic range of a vocalist during a live performance or when recording It is almost always necessary to compress a vocal take during a recording session Most vocalists have a very wide dynamic range and if the vocalist does not have studio experience controlling the dynamic range becomes even more challenging due to the lack of proper microphone technique This wide variation in level makes it difficult to properly record a vocal take especially on digital multi track recorders which have definite limitations in headroom Compressing a vocal also makes it easier to place the vocal track in a mix so that it remains in your face throughout the track To setup for recording a vocal insert a channel of your ACP 88 into the same channel as the microphone on your mixer If your mixer has an insert point insert the compressor there 10 dBu on most mixers If you don t have an insert point you will have to place the compressor after your mixers bus output or whichever output you re using by coming out of your mixer to the input of the ACP 88 then out of the ACP 88 to the input of your recorder If you re using a stand alone mic preamp patch the ACP 88 after the preamp and then to the recorder It is important to utilize the compressor ast in the signal path or positioned in line so that the input level of the compressor is stable Remember adjusting the signal level being sent to th
3. of the tip ring sleeve connector Once patched setup the compressor as a limiter as described above How this works is that when the Sidechain has an inserted signal the Compressor generates the Gain reduction from the Sidechain return signal only Now if you boost those frequencies associated with sibilance SSS such as 2kHz to 8kHz the Compressor will apply the Gain reduction more to the sibilance because it is now seeing more signal around the frequency of the sibilance You will need to adjust the frequency of the equalizer to locate your source of sibilance more precisely Parametric equalizers are most effective for this type of compression but you can get by with most any equalizer e Stereo Compressing Limiting The Linking feature of your ACP 88 will allow you to have up to four stereo Linked pairs of Compressor Gates As you may have read in the section in Chapter Two on the Link function this is easily achieved by pushing in the Link button on the right hand channel thus creating a Linked Stereo Pair The channel on the eft becomes the Master for the Linked stereo pair and all functions on the Right channel with the exception of the Bypass switch become inoperative Meters on the right channel will behave as before but have no significance since the Gain reduction for this channel is being derived from the Left channel To avoid confusion it might be useful to turn the Compression Ratio to 1 1 on the channel with the Link but
4. to return the Gain reduction back to zero no gain reduction Very short Release times can produce a very choppy or jittery sound especially in low frequency instruments such as bass guitar Very long Release times can result in an overly compressed signal sometimes referred to as squashing the sound All ranges of Release can be useful at different times however and you should experiment to become familiar with the different sound possibilities Refer to the applications section of this manual for some ideas The Release control is only active when the Auto button is not pushed in When the Auto button is pushed in the compressor automatically determines the appropriate Release time for compression CONTROLS 8 CONNECTIONS e Soft The Soft button selects Soft Knee and Hard Knee compression curves When this button is pushed in Soft knee compression curves are used otherwise hard knee compression curves are used With Hard knee compression the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the threshold With Soft knee compression the onset of gain reduction occurs gradually after the signal has exceeded the Threshold producing a more musical response e Auto When pushed in the Auto button places the compressor in automatic attack and release mode The Attack and Release knobs become inoperative and a pre programmed Attack and Release curve is used CONTROLS 8 CONNECTIONS
5. 2 3 Gate Controls COMPRESSOR BELOW ABOVE 204 ung 40 20 THRESHOLD e Attack The Gate attack control sets the speed at which the gate opens to allow signal to pass through it This control is variable from 10 microseconds to 100 milliseconds It is advisable to use slower Attack times when gating vocals or quieter instruments to avoid what is often described as gate clicking This phenomenon is not made by a mechanical device in the noise gate but is rather an audible manifestation of no signal to the presence of signal as the gate opens The fastest setting is fully counter clockwise left to the slowest setting all the way round to the right clock wise CONTROLS 8 CONNECTIONS e Threshold The gate Threshold sets the level at which the gate opens as indicated by the OPEN LED above the Threshold knob Essentially all signals above the Threshold setting are passed through unaffected whereas signals below the Threshold setting are reduced in level by the amount set by the Range switch The CLOSE LED above the Threshold knob indicates when the gate is closed the signal level is below the threshold If the Threshold is set fully counter clockwise the Gate is turned off always open allowing all signals to pass through unaffected e Release The Gate Release time determines the rate at which the gate closes This is indicated by observing the OPEN and CLOSED LED s As the Release time is lengthened c
6. ACP88 Eight Channel Compressor Limiter Gate User s Manual Version 1 2 ll PreSonus Copyright 1998 2000 2001 2007 PreSonus Audio Electronics Incorporated All rights reserved 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 a
7. ED is active Also even though the meters on the Linked channel are still operational presence or lack of signal all metering should be referred to the Master channel s meter for the Gain reduction level of the Linked channels 10 CONTROLS 8 CONNECTIONS 2 6 Patch Panel Back Y COMPRESSOR SIDECHAIN e Input The Input jack accepts balanced tip ring sleeve or unbalanced tipsleeve connectors The Input can handle up to 24 dBu unbalanced or up to 18 dBu balanced signal levels 11 CONTROLS amp CONNECTIONS e Output The output jack accepts balanced tip ring sleeve or unbalanced tip sleeve connectors The output will deliver up to 24 dBu in signal level balanced or unbalanced Compression Gate Sidechain TIP RETURN na SLEEVE SEND Balanced Input Output TIP HIGH RING LOW Cable Connection Diagrams e 4 10 Switch This switch adjusts the internal operating level of your ACP 88 when it is connected to line level 0 dB 10 dBU gear With this switch in the 10 position the signal is adjusted by 11 2 dB so that it can be processed at the lower noise floor of your ACP 88 s internal circuitry The signal level is lowered on the way out to match with your line level gear s input When the switch is in the 4 position the signal is not changed since this matches the optimum internal operating level of your ACP 88 e Compressor Sidechain The Sidechain ja
8. ailable for independent applications such as compression limiting or gating as the situation dictates e Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal before and after processing with the compressor limiter or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied e Compressor Sidechain Jack on Every Channel Each channel of your ACP 88 was designed with a special jack for spectral processing compression keying and ducking applications Sidechaining is useful for removing annoying sibilance from vocal tracks de essing or automatically ducking tracks behind a narrator for auto mixing a service broadcast or performance When multiple channels are Linked together the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link a very cool feature allowing control over multiple channels of processing with one Sidechain send return See the section on Sidechaining for application notes OVERVIEW e Separate Gate Sidechain keying Jacks for Each Channel Your ACP 88 also includes a separate jack on each channel for Gate sidechain Keying This is useful for synching an external sound to a snare track for example or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum etc e Balanced Unbalanced Inputs and Outputs Yo
9. ck on each channel interrupts the signal that the compressor is using to determine the amount of Gain reduction to apply When no connector is inserted into this jack the input signal goes directly to the compressor s control circuitry When a connector is inserted into this jack the signal path is broken If you have inserted a 1 4 inch tip ring sleeve TRS connector the input signal is sent back out of the ACP 88 via the ring of the connector This signal can then be processed by an equalizer for example to reduce sibilance 9de essing in a vocal track The signal is then returned to the unit via the tip of the connector The signal sent via the ring could be that of a narrator or vocalist In this application the audio that you are passing through the compressor will automatically duck when the narrator speaks or vocalist sings e Gate Sidechain Key Insert The Gate sidechain jack accepts a tip ring sleeve connector and is used to open the Gate from either a modified version of the signal passing through the Gate or some other external source For example the Gate may be Keyed from a version of the kick 12 CONTROLS 8 CONNECTIONS drum s signal with all of the high frequencies rolled off This set up could be useful to stop the kick drum s gate from opening during a cymbal crash for example NOTE The Key and Sidechain are in the signal path of the gate and compressor respectively These inserts require periodic cleaning as yo
10. d warranty shall be that which is described to the original retail purchaser by the authorized PreSonus dealer or distributor at the time of purchase PreSonus does not however warrant its products against any and all defects 1 arising Out of materials or workmanship not provided or furnished by PreSonus or 2 resulting from abnormal use of the product or use in violation of instructions or 3 in products repaired or serviced by other than authorized PreSonus repair facilities or 4 in products with removed or defaced serial numbers or 5 in components or parts or products expressly warranted by another manufacturer PreSonus agrees through the applicable authorized distributor to repair or replace defects covered by this limited warranty with parts or products of original or improved design at its option in each respect if the defective product is shipped prior to the end of the warranty period to the designated authorized PreSonus warranty repair facility in the country where purchased or to the PreSonus factory in the U S in the original packaging or a replacement supplied by PreSonus with all transportation cost and full insurance paid each way by the purchaser or owner All remedies and the measure of damages are limited to the above services It is possible that economic loss or injury to person or property may result from the failure of the product however even if PreSonus has been advised of this possibility this limited warranty does not c
11. e ACP 88 will require a readjustment of the various parameters of the compressor Turn the Threshold of the channel s compressor you re using completely counter clockwise If you ve gotten the cables right you should see the LED s above the Threshold knob of the channel you re using flashing when you talk into the microphone Make sure that the channel on the ACP 88 has the following setup Link button is out Bypass is out Auto is in Soft is out Gate Threshold knob is fully counter clockwise Compressor Ratio knob is set to 1 1 fully counter clockwise To set the compressor turn the Ratio to the 2 1 mark on the legend With the vocalist yodeling into the mic turn the compressor s Threshold until the gain reduction meters read about 7dB Now you will probably need to boost the compressors output by turning the Gain knob clockwise so that your mixer or multi track meters read 0 dB in the case of some digital recorders this is 14 dB This would be a basic very simple but useable setting for recording a vocal Things to vary to suit your taste might be adjusting the ratio and threshold for more less dynamic range Push the Soft button in and check out the Soft Knee compression curve Take the compressor out of Auto mode and adjust the Attack and Release times to taste e Compressing and gating drums or percussion instruments Limiting the dynamic range of a drum kit may or may not be something you want to do to your drum
12. ect between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types refer to the application section of this manual for a quick tutorial on compression limiting The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder s inputs Live sound system processing is another great application where your ACP 88 can really take control OVERVIEW 1 2 FEATURES continued e Eight Dynamic Noise Gates Each channel of your ACP 88 has a separate dynamic noise gate that can be used to Gate an entire drum kit clean up a noisy tape machine isolate an instrument or separate a vocal from background noise Each noise Gate provides control over Attack Threshold Release and Gate close Range The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once e Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP 88 channels effectively forming a subgroup When linked all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group For example you could Link together channels 7 and 8 to form a Stereo pair channels 3 4 and 5 to form a subgroup of processors while channels 1 2 and 6 remain av
13. ennnrrnnnnrnnannnnnenressnrnnsnnnnnnenrnsnnrnsennnenennenen 0 02sec to 2sec EU 15dB or 60dB INPUT IMpedance taa 10kOhms A 5 Ohms TADANO e asia Akt at Gikk ans tende lt 0 02 CUTOUT Gain ciclo letters 200B to 20dB Compression Curve TypBS ooonccccncccononicononcconcccnnnnnn non n nano cnn nc narran ran Soft Knee or Hard Knee Compressor Metering cccccceeseeeeeeeeeeseeeeneeteees Above and Below Threshold Gain Reduction Gate Meterng isos o tae Open and Closed Sidechain Output Impedance onoccciccccnnocicononanonocononcnononcna non cn non cn nan nana nn rana nc cnn rra r anna nana nanncnnns 5 Ohms Sidechain Input Impedance oooonnocccncconicicnnoconnncccnoncno nora nan c cnc 10kOhms Gate Input Impedance niie anaa a aaa a A a A a Aa aaa atai 10kOhms Internal Operating Level mmnrnarrrnannvnnonnvnnrnvonnnrrvannnvnnonvnnnnrnnnnnrnnnnnnnnenresnnnrnnnnnnenennenenn 4dBu 0dB INPUERANYO suecia ia 4dBu or 10dBV Switchable Input Connectors c cococcccccccconcnonanananoncnnnnn nan cnn nc 1 4 Tip Ring Sleeve Balanced or Unbalanced Output Connectors moncccccoccconoccnononcnonnccnn nc nano nnnnnn cn 1 4 Tip Ring Sleeve Balanced orUnbalanced Sidechain Connector cceeceeseeeeeeeeceeeeeeeaeceeneeceeeeeceaeseeeaeeseeeeeeaeseeaaesseaeeesaes 1 4 Tip Ring Sleeve Gate Key Connector irens meaa aaia aa cnn 1 4 Tip Ring Sleeve POWerSUPpPlVasaar sadelen Internal Linear Supply Power Requirements oooccccococococcciccnocon
14. g the Bypass effectively removes all processing being performed by your ACP 88 and returns the signal to unity gain You should use Bypass often when setting up your ACP 88 to compare the before and after results of the signal processing effecting your audio signal Bypass affects both the Gate and the Compressor When Bypassed the Link function is interrupted for that channel and essentially breaks the link in your linking chain e Link When the Link button is engaged pushed in the LED labeled LINK becomes active indicating this channel has become the slave of the channel to its immediate left The Link LED is only active when the signal is present in the Linked channel All of the controls for the Linked channel become disabled and metering occurs by way of the Gain reduction meter of the channel to the left Exception the LED meter of the Slaved channel is still useful to indicate the presence or lack of signal Essentially the left channel is still the Master and the channel with the Link button pushed in is the Slave channel in a stereo linked pair If multiple Link buttons are pushed in then the channel farthest to the left of the multiple Linked channels without its link button pushed in becomes the Master for the multiple Linked channels In this case all metering should be referred to the Master channel s meter IMPORTANT When a channel is Linked link button pushed in all of it s controls are inactive The Link L
15. lockwise you will notice that the CLOSE LED reflects the close time Release times should typically be set so that the natural decay of the instrument or vocal being gated is not affected Shorter Release times help to clean up the noise in a signal but may cause chattering in percussive instruments Longer release times usually eliminate chattering and should be set by listening carefully for the most natural sounding Release for the signal being processed e Range Switch The Gate range is the signal level reduction that occurs when the gate closes Therefore if the Range switch is set at 15 dB there will be a slight change in the signal as it crosses the Threshold If the Range switch is pushed in the signal will be Gated reduced by 60 dB The CLOSE LED above the Threshold knob indicates this by changing brightness relative to the Range amount that has been selected When the Range is set to 15 dB the CLOSE LED will show half illumination When the Range is set to 60 dB the CLOSE LED will illuminate to it s brightest level at the end of the release time REMEMBER Release time is set by the Release control CONTROLS 8 CONNECTIONS 2 4 Gain e Gain When compressing a signal Gain reduction usually results in an overall reduction of level The Gain control allows you to restore the loss in level which occurs due to the amount of compression used like readjusting the volume 2 5 Bypass amp Link e Bypass Activatin
16. ng described above for vocals Vary the Compression Ratio Attack and Release to suite your taste 18 BASIC SETUP amp APPLICATIONS e Compressing acoustic guitar It is sometimes easy to over compress an acoustic guitar because your first impression is that compression sounds awesome on acoustic instruments If you re adding the acoustic instrument to a mix that already includes a lot of other instruments such as distorted guitar compressing the life out of your guitar will help you later in the mix If the guitar is recorded as a solo instrument or part of an acoustic ensemble you should experiment with less compression because you don t want to severely limit the natural acoustic dynamic range of a good sounding guitar Start by using the setup described in the vocal section e De essing using an inserted equalizer into the Sidechain A common annoyance when attempting to place a vocal track in a mix is that as you boost the higher frequencies of the track to breathe life into the vocal all of the SSS s of the dialogue or lyrics tend to become louder than the rest of the track A proven method of reducing this problem is to de ess the track with spectral compression If you don t have an external equalizer you can use a spare channel of your mixer by sending the track to both the spare channel and the original channel Take the direct out of the spare channel and send it to the Sidechain input of the ACP 88 signal on the tip
17. nnononccnncnnncnanannns 100VAC to 120VAG or 200VAC to 240VAC Weight aiaiai tan ut arden g r iiaa se Sone i ea aes 12lbs PACK SIZ Oo arni il de A A DD AA tien 2U 21 AYOYI 390198 TINNYHI FIONIS IATA Hyg UMAG Y HOUSE Br MU Emer MYHTSOIS JOSEFINE Fl MU Me Ini TECHNICAL 4 2 Block diagram NA ICRA vakt AENOR RE mere tT ee cee EC tes i Tin ee ee ee ee ee i a mm em x 4 utd a va cue 4 B M TTE g Ua Cl and Otte 2304 SMAANS JANS 22
18. over any such consequential or incidental damages Some states or countries do not allow the limitations or exclusion of incidental or consequential damages so the above limitation may not apply to you Any and all warranties express or implied arising by law course of dealing course of performance usage of trade or otherwise including but not limited to implied warranties of merchantability and fitness for a particular purpose are limited to a period of two years from either the date of original retail purchase or in the event no proof of purchase date is available the date of manufacture Some states or countries do not allow limitations on how long an implied warranty last so the above limitations may not apply to you This limited warranty gives you specific legal rights and you may also have other rights which vary from state to state country to country PreSonus Audio Electronics Inc 7257 Florida Blvd Baton Rouge LA 70806 225 216 7887 Copyright 1998 2000 2001 2007 PreSonus Audio Electronics Incorporated All rights reserved TABLE OF CONTENTS 1 Overview VACIO LUCIO a a 1 A I AE AA ee 1 2 Controls amp Connections 2 1 Front Panel Basic Layos sete 4 2 2 Compressor CONTO Sancti dd a 5 2 3 Galo CONOS ssl ratos 8 2 Ga seer 10 2 9 BYPASS amp LINK asp an 10 2 6 Patch Panel ada 11 PAAT FN Le 13 3 Basic Setup and Applications Srl PANG He ER 15 3 2 Applicat AS na dybde de amis 17 4 Technical
19. pression slope This is defined as the output level versus the input level For example if you have the Ratio set to 2 1 any signal level above the Threshold setting will be compressed at a compression ratio of 2 1 This simple means that that for every 1dB of level increase into the compressor the output will only increase dB thus producing a compression Gain reduction of 0 5 db As you increase the Ratio the compressor gradually becomes a imiter A limiter is defined as a processor that limits the level of signal to the setting of the Threshold For example if you have the Threshold knob set at 0 dB and the Ratio turned fully clockwise the Compressor becomes a Limiter at 0 dB This means the signal will be imited to an output of 0 dB regardless of the input signal CONTROLS 8 CONNECTIONS e Attack Attack sets the speed at which the compressor acts on the input signal A slow attack time fully clockwise allows the beginning envelope of a signal commonly referred to as the initial transient to pass through the compressor uncompressed whereas a fast attack time fully counterclockwise immediately subjects the signal to the Ratio and Threshold settings of the compressor The Attack control is only active when the Auto button is not pushed in When the Auto button is pushed in the compressor automatically determines the appropriate Attack time for compression e Release Release sets the ength of time the compressor takes
20. ton pushed in the right channel This will eliminate all Gain reduction and effectively turn off the Gain reduction meters The Gain reduction is of course being derived from the Master channel The Link LED indicates when a signal is being passed from the Linked channel to the Master channel It will ONLY ight up when signal is applied to the Linked channel 19 BASIC SETUP amp APPLICATIONS Notes 20 TECHNICAL 4 1 Specifications Number of Channels uiiccin diia did cd 8 Dynamic Range csi A E gt 115dB Signal to Noise Ratio 2150 hr rak tian anda gt 95dB FICACKOOM dida ant an tiene 24dBu Unbalanced 18dBu Balanced Frequency Response vr uskadde iii 10Hz to 50kHz ErosStaliiia IA AR AA DR de ARE ARDER gt 82db 10kHz Compression Threshold Range cccccccceceeeeeceeeeeceeeeceeeeeseaeeseaeeseeeeessaeessaeeeenees 40dBu to 20dBu Compression Ratio una knakende da AS 1 1 to 20 1 Compressor Attack Time aan dene ciatintch a en tives tds 0 02ms to 200ms Compressor Release Time cccsccceecceceeeeeeeeeeeeeeceeeecaeeeseneeseeeeseaeessaeeeeeeeeaees 0 5sec to 500sec Auto Attack and Release cecccccteceeneeceeeeeeeeeeeaeeeceaeeesaaesseaeeseeeesiaeeesaeeeeaees Program Dependent Gate Attack TIME sure i ride te 0 01ms to OOms Gate Threshold Range uannvnnnnvvnnnvrnnnnrnnannvnnenrnnnnrnnannnnnnenrennnrnnannnnnennenenrresnnrnsennnenennee Off to 20dBu Gate Release Time rnnnrnnnnnvnnnnvvnnnvrnnnnvnnnenv
21. tracks but there are some other features of the ACP 88 that can help you get that in your face bigger than life drum sound 17 BASIC SETUP amp APPLICATIONS If you consider the sound of a snare drum you will notice the sound has a beginning loud sound transient followed by a sound of decreasing intensity decay Patch a channel of your ACP 88 for compressing the snare drum as described above and we can explore some dramatic changes that compression can have on the snare drum s sound For a simple setup make sure that Soft button is out Auto button is out Ratio is set to 4 1 on the legend Attack is fully counterclockwise Release is straight up at the 12 00 o clock position Gate Threshold is fully counter clockwise Link button is out and the Bypass button is out Adjust the Threshold until you see about IldB on the gain reduction meters At this point the snare s volume is simply owered by IIdB Now slowly raise the Attack time by turning the Attack knob clockwise You should notice that the beginning transient of your snare sound is starting to jump out of the speakers and slap you in the face This becomes even more noticeable when using digital reverberation on the snare Now you can adjust the Gate on the snare to stop those other drums from bleeding through the snare mic Begin by adjusting the Attack time of the Gate to 01 10 microseconds by turning the Gate Attack control knob fully counter clockwise T
22. ttempted 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 Limited Warranty Outside of The U S PreSonus Audio Electronics products are warranted only in the country where purchased through the authorized PreSonus distributor in that country against defects in material and workmanship The specific period of this limite
23. u would a patch bay to insure proper operation It is not uncommon for condensation to form a film on these contact points Failure to clean these inserts can result in a loss or degradation of signal Should a gate or compressor fail inserting a 1 4 inch connector several times into the insert points commonly restores normal operation 2 7 Power e Power Connection The power jack on your ACP 88 accepts a standard IEC cord like those found on most computers and professional recorders Your ACP 88 contains a custom built internal power supply This way you can be assured of clean power and rugged construction that will last 13 BASIC SETUP amp APPLICATIONS 3 1 Patching e Inserting into your mixers insert points To Mixing Board Insert Point Send From Mixer Return To Mixer After your mixers main outputs balanced From Mixer Balanced Output eA Lp To Power Amplifier a _ Balanced Input ie En dn 15 BASIC SETUP amp APPLICATIONS e Between multi track recorder inputs outputs to mixer outputs inputs unbalanced From Multi Track Mixer O E ES f ee a A A a ee ee ee ee a we alee ere To Mixer Multi Track Ware ie ur oe OS Sidechain insertion of an equali essin applications To Equalizer Input From Equalizer Outout JONE 16 BASIC SETUP amp APPLICATIONS 3 2 Applications e Example setup compressing a voice or vocal track Probably the
24. ur Acp 88 accepts either balanced or unbalanced inputs and outputs using tip ring sleeve TRS connectors e 4dBu or 10dBV The internal operating level of your ACP 88 can be switched between 4dBu pro levels to 10dBV line levels making it possible to use in virtually any application For Technical support please choose from the following options Phone 800 750 0323 Email techsupport presonus com Website www presonus com please visit the PreSonus forums at www presonus com forums to find tips suggestions and general discussion for all PreSonus products CONTROLS 8 CONNECTIONS 2 1 Front Panel Basic Layout Link amp Bypass Notice that the front panel is divided into eight identical sections These are the eight signal processing chains of the ACP 88 Each channel contains Compressor Limiter Noise Gate Gain Makeup Link amp Bypass Control CONTROLS 8 CONNECTIONS 2 2 Compressor Controls COMPRESSOR auro as NG PR va e Threshold The Compressor Threshold sets the eve at which compression begins The below and above LED s over the Threshold knob indicate whether the input signal is below or above the Threshold setting When the signal is above the Threshold setting it becomes eligible for compression Basically as you turn the Threshold knob counter clockwise the input signal is compressed If you have a ratio setting of greater than 1 1 e Ratio Ratio sets the com
25. urn the Gate Release knob to about the middle position set the Gate Range to 60dB Range Button pushed in adjust the Gate Threshold slowly clockwise until you begin to hear those other drums disappearing Too high of a Threshold setting might disrupt the snare drum s natural sound a Threshold setting that is too low will let the sound of the other drums open the Gate You need to adjust the Gate Threshold and Release to suit your drumming taste This simple application applies to any percussive instrument of course Experiment e Limiting Limiting is defined as compressing with a Ratio of infinity to one This setting acts like an imaginary ceiling for the level of a signal On your ACP 88 Limiting occurs when the Ratio knob is fully clockwise At this point the Threshold knob essentially becomes the ceiling Knob for the channel You will most likely want a virtually instantaneous Attack time while Limiting To achieve this Make sure the Auto button is out Turn the compressors Attack time knob fully counterclockwise and set the compressor s Release time for the most natural sounding decay for whatever input signal you are using Warning Improper settings of the Release time have been known to cause pumping breathing and coughing in limiters Consult your ears when fine tuning Compressing bass guitar Very similar to compressing vocals the bass guitar is almost always compressed or limited during recording Start with the setti
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