Presonus Audio electronic COMP16 Stereo Amplifier User Manual
Contents
1. eeeeeene 10kOhms Master Output Impedance 51 Ohms THD NOISE iini eit 0 00296 Internal Operating Level 0dBu 0dB Headphone Output Power usssss 150mW Input Connectors 1 4 Tip Ring Sleeve Master Output Connectors 1 4 Tip Ring Sleeve Power Supply External Linear Supply Power Requirements 16VAC 1000mA 20 Watts Wolters ert Eee 4 lbs2. jack on one end and two 14 TS Tips Sleeve jacks on the other end The single end will look like a stereo 4 connector jack This end of the cable plugs into the insert jack on the mixer channel The other ends of the cable plug into the input and output of the EQSB If the EQ3B does not work immediately you may want to try changing the jacks that are plugged into the input and output of the unit PRESONUS 4 1 HP4 FRONT PANEL BASIC LAYOUT The front panel on the HP4 is divided into three sections These are the potentiometers knobs headphone jacks and buttons PreSonus MONITOR LEVEL Ch Headphone Volume The HP4 has the potential to be very loud it goes to 12 Please be careful when you first start passing sound through the unit It is generally a good idea to start with the volume set at 1 and then bring the volume up Monitor Level The monitor level knob corresponds to the output volume of the output on the back of the HP4 The level can be muted by pressing the Monitor Mute button Mono When the Mono button is pushed in each input will be summed together on each output For example if you plug a CD player into the left input and press the mono button the signal from the left input will be present in the left and right headphone and master output When the Mono button is not pushed in the left output will have the left input signal and vice versa 21 PRESONUS Monitor Mute The monitor
3. The HP4 can be connected to the headphone output of a console mixer to multiply the headphone outputs Care should be taken that the headphone output level of the console mixer is not set to high Setting the output level to the HP4 too loud could cause the unit to distort The monitor outputs are designed to be connected to the power amp of your studio speakers to the inputs of self amplified speakers or to another HP4 23 PRESONUS 5 1 COMP16 SPECIFICATIONS Number of Channels cccccscceeseceeeeeeeeseaeeeeeaeeeeeeeens 1 Dynamic Range ccccococcccconocccinanoncnnncnnanccnanaannnninns gt 115dB Signal to Noise Ratio sss gt 95dB Headroom eese nnns 22dBu Frequency Response ss 10Hz to 50kHz Compression Ratio sssessssss 1 1 to 20 1 Compressor Attack Time 0 01mS to 100mS Compressor Release Time 10mS to 500mS XLR Input Impedance sesssss 10kOhms TRS Input Impedance ssssss 10kOhms XLR Output Impedance usessss 51Ohms TRS Output Impedance essssss 510hms THD 3 NOISG vicio dice etg e ia 0 0596 Input Gain sessies 200B to 20dB Output Gain sssssseseeeese 208B to 20dB Compressor Metering Output Level Gain Reduction Internal Operating Level
4. OdBu OdB Input Connectors 4 Tip Ring Sleeve XLR Output Connectors 4 Tip Ring Sleeve XLR Power Supply External Linear Supply Power Requirements 16VAC 1000 mA 20W ifle ciclista had 4lbs PRESONUS 5 2 EQ3B SPECIFICATIONS Number of Channels 1 Dynamic Range senri gt 115dB Signal to Noise Ratio esses gt 95dB Cl ott 22dBu Frequency Response s 10Hz to 50kHz XLR Input Impedance seessss 10kOhms TRS Input Impedance sssssss 10kOhms XLR Output Impedance ssssssss 51 Ohms TRS Output Impedance susssss 51 Ohms THD NOISE 4 dete 0 00296 Internal Operating Level 0dBu 0dB Input Connectors 1 4 Tip Ring Sleeve XLR Output Connectors 1 4 Tip Ring Sleeve XLR Power Supply External Linear Supply Power Requirements 16VAC 1000mA 20 Watts Weights cita 4 lbs Slap RE 5 5 X5 5 X1 75 25 PRESONUS 5 3 HP4 SPECIFICATIONS Number of Channels sss 1 in 5 out Dynamic Range ssee gt 115dB Signal to Noise Ratio sssssssss gt 95dB Cl eet tlt Eo dts 22dBu Frequency Response 10Hz to 50kHz Input Impedance
5. 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
6. Blvd Baton Rouge LA 70806 225 216 7887 2003 PreSonus Audio Electronics Incorporated All rights reserved 1 Overview 1 1 Introduction 2 Comp16 2 1 A Word About Compression 2 2 Front Back Panel Basic Layout 2 3 Presets 2 4 Application Guide 3 EQSB 3 1 Front Back Panel Basic Layout 3 2 Application Guide 4 HP4 4 1 Front Back Panel Basic Layout 4 2 Application Guide 5 Technical Specifications 5 1 COMP16 Specifications 5 2 EQ3B Specifications 5 3 HP4 Specifications TABLE OF CONTENTS 14 17 19 21 23 24 25 26 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 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 1 A WORD ABOUT COMPRESSION Punch apparent loudness presence
7. 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 10 1 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 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 s
8. mute button is handy when you are only using the headphone outputs and don t want to use the Master Outputs Also it enables the user to hit one button rather than turn down the volume knob for the Monitor Level A good use of this button would be for recording in front of a computer or DAW When a mic is on the Monitor Mute button would be pushed in to prevent feedback When the recording performance is over the mic could be muted and then the Monitor Mute button would be disengaged 4 1 BACK PANEL BASIC LAYOUT OUTPUT POWER 16VAC MONITOR THRU Input The input jack accepts balanced unbalanced tip sleeve or tip ring sleeve connectors The input can handle up to 24dBu unbalanced levels Output The output jack accepts balanced unbalanced tip sleeve or tip ring sleeve The output will deliver up to 24dBu in signal level unbalanced These outputs are designed to be connected to the power amp of your studio speakers to the inputs of self amplified speakers or to another HP4 PRESONUS 4 2 APPLICATION GUIDE The HP4 can be hooked to another processor such as the COMP16 or TubePre in a live or studio environment We do recommend that whenever possible balanced cables be used An example of a balanced cable would be a TRS Tip Ring Sleeve A balanced cable is preferred because it generally has a greater level of noise rejection In other words it is less susceptible to outside interference Use with a Console
9. COMP16 SMART COMPRESSOR HP4 HEADPHONE DISTRIBUTION AMPLIFIER EQSB 3 BAND PARAMETRIC EQALIZER USERS MANUAL Version 2 0 PreSonus Audio Electronics COMP16 SMART COMPRESSOR HP4 HEADPHONE DISTRIBUTION AMPLIFIER EQSB 3 BAND PARAMETRIC EQALIZER USERS MANUAL Version 1 0 2003 PreSonus Audio Electronics Incorporated All rights reserved 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 retur
10. RS or XLR and one or more of the output jacks TS TRS or XLR Select your preset Refer to the preset descriptions above Remember that the Ratio Attack and Release knobs are only active in Manual mode Do not push the bypass button in Turn the Input knob all the way to 20 counter clockwise Set the Output knob on 0 Slowly turn the Input knob up clockwise until the Gain Reduction meters begin to move Continue to rotate the Input knob until the Gain Reduction meters read between 5 and 7 Adjust the Output knob to the desired output level You should now have a very natural sounding compressed signal Of course you should experiment with the settings to suit your taste 14 PRESONUS BASIC CONNECTIONS 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 because it generally has a greater level of noise rejection In other words it is less susceptible to outside interference Use with a Console Mixer Insert The COMP16 can be connected to an insert point on a console mixer by using a TRS Y cable This cable is
11. Reduction meter This gives you an equal level output so that you can switch processing in and out to compare difference PRESONUS 3 1 EQ3B FRONT PANEL BASIC LAYOUT The front panel on the EQ3B is divided into three sections These are the three bands of equalization Q Presonus 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 frequency divided by bandwidth An example of how the width looks can be seen below in Figure 1 An example of use of high Q would be a Notch Filter A Notch Filter is used to remove a small frequency range that may be annoying or unwanted An example of wide width or low Q would be a bell An example of using a bell would be a low end roll off Let s say that a person is performing live and the low end is too overpowering The engineer or sound person could set the Q at 0 1 frequency at 80Hz and the gain reduction to 12 This would enable that person to lower a wide frequency range fairly quickly The Gain Gain Reduction knob dB allows the user to raise or lower the amplitude peak of the chosen frequency 17 PRESONUS Figure1 If the BYPASS button is not pushed in the EQ3B is processing the signal equalizing Pushed
12. Y shaped has a single TRS 1 jack on one end and two 14 TS Tips Sleeve jacks on the other end The single end will look like a stereo 1 4 connector jack This end of the cable plugs into the insert jack on the mixer channel The other ends of the cable plug into the input and output of the EQSB If the EQ3B does not work immediately you may want to try changing the jacks that are plugged into the input and output of the unit 15 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 increase the input until the Gain Reduction meters begin to register the compression activity The more you crank up the Input the more compression your signal will experience Always pay close attention to the best judge of your sound your ear You should also frequently remove the compression from the signal using the Bypass button to listen to the changes in your sound In modern recording practice it is customary to adjust the Output control such that the Input and Output level are of equal amounts according to the Output Gain
13. bs and for bass lines played on a synthesizer Threshold Ratio Attack Release 11 9dB 0 002m8 11 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 3d8 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 0 001mS 2 CONTOUR A contoured setting for use on the Mono output to fatten up the mix Threshold Ratio Attack Release 13 4dB 0 002mS 182mS Effects 1 SQUEEZE Dynamic compression for solo work especially electric guitar It gives you that glassy tele strat sound A true classic Threshold Ratio Attack Release 4 6dB 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 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 PRESONUS 2 4 APPLICATION GUIDE QUICK START T Connect your COMP16 using one input jack TS T
14. 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 of a deep vocal PRESONUS 3 1 BACK PANEL BASIC LAYOUT OUTPUT M UNBALANCED UNBALANCED 9 l l O i N O POWER C 16VAC BALANCED BALANCED Input The input jack accepts balanced unbalanced tip sleeve or tip ring sleeve connectors or XLR connectors The input can handle up to 24dBu unbalanced levels Output The output jack accepts balanced unbalanced tip sleeve tip ring sleeve or XLR connectors The output will deliver up to 24dBu in signal level unbalanced 3 2 APPLICATION GUIDE The EQ3B can be hooked to another processor such as the COMP16 or TubePre in a live or studio environment 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 because it generally has a greater level of noise rejection In other words it is less susceptible to outside interference Use with a Console Mixer Insert 19 PRESONUS The EQ3B can be connected to an insert point on a console mixer by using a TRS Y cable This cable is Y shaped has a single TRS 1
15. ned 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
16. put 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 2 COMP16 BACK PANEL LAYOUT PRESONUS OUTPUT A UNBALANCED UNBALANCED l l o N N POWER C 16VAC BALANCED BALANCED 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 setting lets the vocal sit in the track Threshold Ratio Attack Release 8 2dB 0 002mS 2 MEDIUM More limiting than preset 1 for a narrower dynamic range It moves the vocal more up front in the mix Threshold Ratio Attack Release PRESONUS 3 8dB 0 002mS 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 Th
17. reshold Ratio Attack Release 1 10B 0 002mS 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 300mS 2 L R Mono OVERHEAD A low ratio and threshold gives a fat contour to even out the sound from overhead drum mics Low end is increased and the overall sound is more present and less ambient More boom less room Threshold Ratio Attack Release 18 7dB 128mS Fretted 1 ELECTRIC BASS A fast attack and slow release to tighten up the electric bass and give you control for more consistent level PRESONUS Threshold Ratio Attack Release 4 4dB 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 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 Ratio Attack Release 0 1dB 194mS Keyboards 1 PIANO A special setting for an even level Designed to help even up the top and bottom of an acoustic piano Helps the left hand be heard with the right hand Threshold Ratio Attack Release 2 SYNTH Fast attack and release for synthesizer horn sta
18. ubtleties 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 2 COMP16 FRONT PANEL BASIC LAYOUT The front panel on the COMP16 is divided into three sections These are 1 Presets Sixteen selectable preset positions PRESET COMP 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 amp 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 compressor lowers the output level during gain reduction 7 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 Out
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