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Marani CLP-160 User Manual

Digital speaker processors
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482mm
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19"

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Summary of Contents for Marani CLP-160

  • Page 1 482mm DIGITAL 19"...

  • Page 2: Table Of Contents

    Index index...............Page 1 Safety Instructions...........Page 2 Controls and Parameters..........Page 3 RMS Compressor Notes........... Page 4 Sub Harmonic Synthesizer Notes......Page 5 Input and Output Level Considerations...... Page 6-8 RMS Compressor.............Page 9-14 Sub Harmonic Synthesizer........Page 15-17...

  • Page 3: Safety Instructions

    IMPORTANT SAFETY INSTRUCTIONS Note: in order to ensure safety, please read these instructions carefully All safety and operating instructions should be read before the product is operated. Attention:To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture! Objects or liquid entry Ventilation...
  • Page 4 CLP-160 RMS Stereo Compressor CONTROLS Pot Thr/Var Adjust Threshold and Parameter Value Key Atk/Rel Select Parameter Selection 1 Key atk/Rel Confirm Parameter Selection 2 Led Clip Input/Process Overflow Enc Ratio/Knee Compressor's Ratio and Knee selection Button Process On/Off RMS Compressor Active/Bypass Pot Input Level...
  • Page 5 The CLP160 is a Stereo RMS Compressor with the addition of a Sub Harmonic Synthesizer. With reference to the following RMS Compression process representation The CLP160 is implementing a REAL RMS Compressor, so compressing at the same threshold a pure sinusoidal signal as a squared wave. Particularly, the RMS Compressor is a Compression process applied with fast slow Attack and Release times to the INPUT signal of a Unit, in order to maintain...
  • Page 6 More, for the CLP160 Compressor is also available a Ratio and a Hard/Soft Knee parameters. The Ratio parameter is allowing to get a compressed output maintaining a constant dB ratio with the input. This feature is got in the CLP160 with a precise Look Up Table Log Computation process, allowing int the ratio maintenance a precision of 0.1dBu.

  • Page 7: Input And Output Level Considerations

    Input and Output Level Considerations The Input and Output levels of the CLP160 can be adjusted by a couple of Analog Potentiometers. Due to the fact that the potentiometers are operating in the analog domain, before the A/D converter ( Input Level) and after the D/A converter (Output Level) there is not an absolute and fixed relation between the Input and Output Levels and the levels in front of the A/D and after the D/A converters.
  • Page 8 In order to verify the Input/Output Max Levels of the CLP160, need first to make sure that NO RMS compression or Sub Harmonic Synthesis are active. In order to do that need to proceed with the following steps (the details about the RMS compressor and Sub Harmonic Synthesizer use are in the dedicated and following section of the manual): Sub Harmonic Synthesizer NOT Active:...
  • Page 9 Max Analog Output: once set the Max Input Level to +15dBu, in order to identify the Maximum Output Level, need to move the Input Level Potentiometer from the position 3, up to the position that is clipping the A/D converter. With +15dBu Input, the position of the Input Level Potentiometer at the limit of the Input Clipping (notified when occurred by the RED CLIP LED ), is the position 6 of the Input Level grid of Fig A.

  • Page 10: Rms Compressor

    RMS Compressor The CLP160 is performing a powerful RMS Stereo Compressor. In order to make it working properly, need to be in a condition similar to the one described before for the 0dBu path. The following data are referred to a measurement condition based on the 0dBu setting, which means: 1.
  • Page 11 Specifically, the Ratio and the Threshold are directly accessible through the RATIO/KNEE Encoder and THR/VAR potentiometer, selecting so immediately the desired values. The Attack and Release times, can be accessed and set using the “Atk/Rel Select” and “Atk/Re/ Confirm” buttons. RATIO/KNEE: the RATIO/KNEE Encoder is allowing to set the RATIO value of the RMS Compressor and the KNEE type.
  • Page 12 THR/VAR: the THR/VAR potentiometer is used both for setting the RMS Compressor Threshold, so as for setting the Atk/Rel times. With reference to the following detailed Grid picture And to the following combination of the “Atk/Rel Select” and Atk/Rel Confirm” buttons: Atk/Rel Confirm Led Atk/Rel Select Led...
  • Page 13 THRESHOLD: The Threshold of the RMS compressor there where we're referring to a 0dBu path, providing a 0dBu Output level as Maximum Output Level, the Table relating the Threshold and the Output Level is THR/VAR Pot Threshold set at 0dBu (Bypass) -0.8dBu Grid 9 Grid 8...
  • Page 14 ATTACK TIME: The Attack Time of the RMS compressor is related to the THS/VAR potentiometer Grid position, on the base of the following Table and considering the Threshold set at -17dBu and the Input level going from OFF to 0dBu THR/VAR Pot Threshold set at 200ms...

  • Page 15: Rms Compressor

    RELEASE TIME: The Release Time of the RMS compressor is related to the THS/VAR potentiometer Grid position, on the base of the following Table and considering the Threshold set at -17dBu and the Input level going from 0dBu to - 20dBu THR/VAR Pot Threshold set at...

  • Page 16: Sub Harmonic Synthesizer

    SUB HARMONIC SYNTHESIZER This particular process, already introduced in the first part of the manual, isn't actually related to the RMS compression one. The Sub Harmonic Synthesizer is intended to be an “extra” process available to the user there where the RMS Compressor is chosen for processing a source addressed to a “background”...
  • Page 17 This is due to the fact that extend the same amplitude to the all sub harmonics generated, would bring to a “booming” and “dark” result, there where having a Peak on the 65Hz, will leave the max intensity of the synthesized sub harmonics, in correspondence of the original fundamentals, ranging around 130Hz, where typically fall the octave used by the harmonizing instruments as the Bass or Kick Drum, creating there a bigger presence and giving the music...

  • Page 18: Sub Harmonic Synthesizer

    THR/VAR Pot Gain at 65Hz +18.4dBu Grid 9 +18.4dBu Grid 8 +17.5dBu Grid 7 +16dBu Grid 6 +14.5dBu Grid 5 +12.5dBu Grid 4 +11dBu Grid 3 +7.5dBu Grid 2 +1dBu Grid 1 +0.0dBu(Bypass) +0.0dBu(Bypass) TAB 6 Note that when the Sub Harmonic Synthesizer is active need to tune properly the Input level so to take in account the added Sub Harmonic Process' Amplitude on the low frequencies, and notified by the Clip Led blinking.
  • Page 19 China Office: 4/5Floor, Building B，No.885，Shenzhou Road,Science City, Guangzhou, China Tel:+86(20)62845258/59/60 MAINS~ Fax:+86(20)62845256 Http:www.marani.com.cn...