Manual - Texim
Contents
1. aa Da BAT Mo 8989388 OUI pa Oud 8 EA x 020 ony DN540 Operator Manual 38 ERIE 2 E Crib Sheet v TINNVHD 2 YOSSRIWOD TANNVHD Nino ELENA L TBNNVHD RLA Appendix Service Information This appendix contains routine service and maintenance instructions Routine maintenance To help keep your DN540 unit in good working order and to make sure it gives you optimum performance we recommend that you carry out the following at monthly intervals e Clean the unit see Cleaning below Check the controls for freedom of operation Check the functionality of all controls that is control knobs pushbuttons and LEDs You can carry out a visual check of all illuminated items LEDs etc by switching the unit off and then on again as they should all illuminate during power up Check the functionality of the equipment Cleaning Switch off the unit and electrically isolate it from the mains before cleaning Clean2. C xm ZO P Ro ova qon olny tos sad 9 ESTE DN 9 s HN J Y X J 4775 hy Qd X od gt O e Jg 4 40 ws u D 80 70 suj V O NY V TANNVHO MOSS3HdWOO TINNVHO HOSS3HdWOO T3NNVHO Banoo L TANNVHD gt NOSS3HdWOO A8 55 IVNDIS Lg RS x3 Amt THAT ao Wk PET ON gt SO a w o 20 2 row fanan onv NM 9 SERI RTL Os Tos aa 9 goman a x aa ozana MN O Dat O y 4 eto s O fo wu d fo O sug ian V 1 MOSS3HdWOO TINNVHO 055344 gt 4 TINNVHO YOSsdNO L NOLILINLT4G ONISSADIOUNd IVNDIS
3. 29 Brass instruments 202 46 eee ex a ee we ee 29 Rw 29 Presence accentuation 29 Functional Block Diagram 31 Balanced Unbalanced Technical Specification 35 Crib Sheet 37 Service Information 39 Routine maintenance 39 Cleaning ade dC Keno dux CEU E a 39 Replacing the mains fuse 39 Equipment disposal 40 MERNI H xii Operator Chapter 1 Introduction Thank you for purchasing a Klark Teknik DN540 Creative Quad Compressor The DN540 is a user friendly high performance four channel quad analogue compressor designed for live sound reinforcement primarily on tour in theatres and at corporate events with applications in both front of house and monitoring situations Other possible areas for use include broadcasting the recording studio and installation The DN540 provides a wide variety of easy to use controls for the precise manipulation of compression parameters These enable you to for example alter the character of an instrument that is being processed or make sounds seemingly louder b
4. Label Function 1 LED green Not applicable On off status indicator for the MTR I P pushbutton 2 Pushbutton MTR I P Switches the LEVEL meter to monitor the output signal off or the input signal on LED yellow Not applicable On off status indicator for the LINK pushbutton 4 Pushbutton LINK Links the channel to the adjacent channel on the right There is no LINK button on channel 4 5 Pushbutton EXT When this button is off the sidechain signals are sourced from the incoming compressor signal as normal When this button is on these signals are sourced from elsewhere via the external sidechain input connector rear panel LED yellow Not applicable On off status indicator for the EXT pushbutton Pushbutton AUTO Selects the compressor mode where manual mode off default and auto mode on For more information see Modes of operation on page 23 8 LED green Not applicable On off status indicator for the AUTO pushbutton DN540 Operator Manual 1s FN Tai DN540 E Eus 16 Operator Manual Chapter 5 Rear Panel The rear panel of the DN540 shown below has a mains input section and four channel connector sections Mains input Four channels Note Although the rear panel of the DN540 has cutouts for two solo bus connectors these are unused on this unit and are therefore blanked off Mains input The mains input section has a mains Mains IEC socket IEC socket below w
5. compression with some dynamic control which does not unduly affect the intentional dynamic content of the source material This can be used with difficult instruments like acoustic guitar to keep equal perceived loudness within a mix without producing excessive flutter or distortion Auto mode with hard knee exponential RMS With both the AUTO and HARD pushbuttons switched the compressor is 5 sensing COMPRESSOR CHANNEL 1 1 7 using exponential attack and release The RMS 4 SF averaging process defines the attack and release mt times to produce a very adaptive envelope 5 4 DU character This provides faster attacks on large 2 ME over threshold signal changes and produces slower attacks on small signal changes The lack m of manual time constant settings makes this 7 HARD Pa mode very fast and simple to setup on most programme material It is also sonically accurate and works well for limiting of vocals and compression of many other sources Auto mode with soft knee exponential RMS Limiter With the AUTO pushbutton switched on the compressor is RMS sensing with an underlying COMPRESSOR CHANNEL NIZ exponential attack and release characteristic E that is slightly modified by the soft knee curvature This produces extremely natural Some 2 ane results even with higher compression ratios 8 oO and is especi
6. Power plugs must be inserted in socket outlets provided with protective earth contacts The electrical supply at the socket outlets must provide appropriate over current protection Both the mains supply and the quality of earthing must be adequate for the equipment Before connecting up the equipment check that the mains power supply voltage rating corresponds with the local mains power supply The rating of the mains power supply voltage is printed on the equipment Location Ideally a cool area is preferred away from power distribution equipment or other potential sources of interference Do not install the equipment in places of poor ventilation Do not install this equipment in a location subjected to excessive heat dust or mechanical vibration Allow for adequate ventilation around the equipment making sure that its vents are not obstructed To prevent excessive heating of the equipment avoid mounting it directly above power amplifiers or other devices that radiate significant amounts of heat such as radiators and heaters Keep the equipment out of direct sunlight Make sure that the mains voltage and fuse rating information of the equipment will be visible after installation Audio connections To ensure the correct and reliable operation of the equipment only high quality balanced screened twisted pair audio cable should be used XLR connector shells should be of metal constru
7. DN540 using a dry lint free cloth Do not use harsh abrasives or solvents When cleaning the unit take great care not to damage control knobs pushbuttons etc Replacing the mains fuse The equipment must be independently isolated from the mains voltage supply before any attempt is made to change the protective fuse The fuse and its cover must always be replaced before the equipment is reconnected to the mains voltage supply Only use the correct replacement type when changing the fuse Fuse specification is printed on the rear cover To remove the fuse pull out the fuse drawer see Mains input on page 17 Then prise out the fuse from the furthest compartment the nearest compartment is for a spare fuse a small flat bladed screwdriver may be useful for this Insert a new fuse in the furthest fuse compartment and close the drawer After replacing a fuse check that the unit i s working properly Always ensure that there is a spare fuse available DN540 Operator Manual 39 RLAR MERNI H Service Information Equipment disposal When this equipment has come to the end of its useful life its disposal may come under the DIRECTIVE 2002 96 EC OF THE EUROPEAN PARLIAMENT AND OF THE COUNCIL of 27 January 2003 on waste electrical and electronic equipment WEEE Hazardous substances in WEEE contaminate water soil and air and ultimately put at risk our environment and health The directive aims to minimize the impacts of WE
8. 2 1 12 e 20 13 MIN MAX E ATTEN 99 RATIO PRESENCE LEVEL Channel 1 Channel 2 Channel 3 Channel 4 Item Description 1 Compressor section see Compressor section on page 14 2 See Switch section on page 15 3 Power on off indicator LED Illuminates blue when the power is on 4 Four rack mounting holes for securing the unit in a rack Do not overtighten DN540 Operator Manual 13 RLAR MERN IH Chapter 4 Front Panel Compressor section Item Each compressor section houses six compressor parameter control knobs a bypass switch and a hard knee switch and two sets of six LED meters attenuation and level Type Label 50 THRESHOL 25 BYPASS ATTACK RELEASE Function 10 Control knob Control knob Control knob Control knob Pushbutton LED orange Control knob LED meter Control knob Pushbutton ATTACK GAIN RELEASE PRESENCE HARD Not applicable RATIO ATTEN THRESHOLD BYPASS Adjusts the time taken for the compressor to respond after an over threshold signal Envelope time constant Provides adjustment of up to 18dB of make up gain so that the level of the outgoing signal can be matched to the incoming uncompressed signal Adjusts the time taken for the compressor to recover after an over threshold signal Envelope time constant Reduces compression at the mid high frequencies v
9. gt 116dB 22Hz to 22kHz unweighted 94dBu lt 0 05 0 seconds Scale 50dB to 25dB Scale infinity 1 to 1 1 Scale 0 1ms to 20ms Scale 50ms to 2s Scale minimum flat to maximum 3dB at 5kHz Scale OdB to 18dB 3 pin XLRs male and female and 1 4 TRS balanced Jack sockets 3 pin IEC 100VAC to 240VAC 10 50Hz to 60Hz 25W 44 5 mm 1 75 10 high 483 mm 19 305 mm 127 DN540 Operator Manual 35 Technical Specification Weight Net 4 6 kg Shipping 5 6 kg Operation Temperature 5 C to 45 C Storage Temperature 20 C to 60 C Due to a policy of continual improvement Klark Teknik reserves the right to alter the function or specification at any time without notice MERITI 36 Operator Manual Appendix E Crib Sheet The following page contains a crib sheet which you can photocopy or print if you want more copies Operator Manual 37 NOINA ONISSADONd TVNDIS dL wn NESE va 3935389 awu onn pa 3935389 awu Kx P AN n lt 4 C O Y V Y ES E aS
10. A sound pressure level SPL of 96dB would in a domestic environment almost certainly annoy the neighbours While at the other end of the dynamic scale a typical ambient noise level of at least 40dB SPL makes it impossible to use very quiet levels in recorded or broadcast sound media So it is almost always necessary to compress the dynamic range of natural sounds to fit them into a window usually about 30dB to 40dB suitable both for the equipment and for comfortable listening The compressor is a valuable tool for the control of the dynamic range Principles of compression One of the principal uses of compression is the control of level in vocals Many singers train for years to achieve the degree of breath control necessary for an even tone and expressive performance Whereas other vocalists rely on an instinctive voice production technique which may need technological assistance to maintain a consistent level that sits correctly in the programme Threshold level Signal level Unprocessed signal Time Signal level 3 1 Compression above threshold Time Threshold level Signal level With make up gain added Time Figure 1 Compression signal level graphs onerat Mana BLARK TERIN Chapter 2 What Is Compressor The level of a vocal may vary widely As shown in the typical example in Figure 1 Compression signal level graphs the unprocessed signal has a large dynamic range between the highest an
11. About this manual 3 What Is A 5 Principles of compression 5 Uses Of COMPreSSION s osoasa masina armaa eee ee ee 6 Unwanted side 6 Getting 5 9 UNPACKING 2 X UR RO ote ee ee ee QA RR 9 Checking the mains fuse 9 Installation CPP 9 Connecting the power cable 10 Connecting the audio cables 10 Channel I O pin outs 10 Sidechain inputs sess Rr RR RR RAE RARE 11 Connecting to unbalanced equipment 12 Powering the Unit 12 Front 13 OV6erVIGW OR RC 13 Description OR xn S RR TR Row 13 Compressor sectlOn sce ek REOR CE GR WR 14 Switch Section zucca a ah RD E 15 Rear Panel xr cs ce yw e e e WRITER UR ee RT Te 7 p pP T 17 Channel connector section 17 Compressor Control Functions 19 Attack Shae wh Se 19 Make
12. An 1 E 0 6 gt Ov T E H Z 3 5 o i mm mu 5 E 1 sug apo 02 4 lt 4 1 lt lt Z HNNVHO 4 Ssvaia NND 110 FI T 8 0 NIN 9 ddd Ded 1 E 1019918 a 2 Qv Loo ony E i Oo E 9 e o apo 02 suo 10 6 j NM 4 L 2 553344 2 Ssvaia 5 3ON3s3Ud 6 L apo NIN DN540 Operator Manual 32 LER ral Y S INE Appendix Balanced Unbalanced Audio Balancing refers to the type of input or output signal connections in an audio system These connections are specifically designed to reject external noise such as from mains wiring and internal interference from adjacent signal cables Unlike unbalanced lines which are more susceptible to noise balancing is especially useful when long cable runs are used between pieces of equipment and can also provide other benefits including an increase in line signal level and a decreased possibility of ground loops Balanced connections are typically employed on long cable runs such as to a
13. O 1 Screen ground Screen ground not connected at unbalanced end 2 Hot signal Hot signal 3 Cold signal Ground at unbalanced end MERITI 10 Operator Manual Connecting audio cables Sidechain inputs The electronically balanced sidechain inputs are on stereo 1 4 TRS connectors Inserting a mono jack plug will automatically unbalance the input The following diagram shows the sidechain input connection details m Q o leeve Ip S 5 9 8 x Female XLR Console Mi Female XLR 7 Sleeve The 1 4 TRS connector wiring details as follows Sleeve ground shield Tip hot Strain relief clamp E Ring Cold Operator Manual Chapter 3 Getting Started Connecting to unbalanced equipment Ideally you will be making the best use of the DN540 s low noise high headroom balanced inputs by connecting to similarly balanced equipment However if you do have to connect to unbalanced devices the following wiring is recommended for best results see Figure 3 e Connect the ve pin 2 of the balanced connection to the ve terminal on the unbalanced connector e Connect the ve 3 of the balanced connection to the common ground terminal on the unbalanced connector e Connect the ground pin 1 of the balanced connection to the common ground terminal on the
14. UP 525 54 ee ee ee E Rex E na 19 Release ER Ae EUN P Seah RS 19 Ratio ORARE ee Dalen USE 20 Threshold moo te ba ob C c RP e 21 Presence 24 22d geo nde a RR de b ee 21 Soft knee and hard 22 DN540 Operator Manual 4 Contents Chapter 7 Appendix A Appendix B Appendix C Appendix D Appendix E Appendix F Using The 55 23 Modes of operation 23 Manual mode with soft knee linear peak 23 Manual mode with hard knee linear peak 24 Auto mode with hard knee exponential RMS 24 Auto mode with soft knee exponential 5 24 eve hs a Gee MANG mg al E 24 Simple compression auto mode 26 Advanced compression manual mode 26 Stereo and multiple channel operation linking 27 eU _ 28 Application Notes 29 Drums and percussive instruments 29 Stringed acoustic instruments 29 Stringed electric instruments
15. drum sounds careful adjustment of attack time can make the sound more punchy and driving Make up gain As compression reduces the gain level of the signal the gain control lets you add a fixed amount of make up gain so as to achieve an optimum output signal level Release Release is the time the compressor takes to recover after the programme material falls back below threshold Both attack and release also respond to changes in programme level that remains over threshold For example a signal that reduces in level but remains above threshold will still trigger a release However in this case it will only be a partial release because the compressor is still required to generate gain reduction albeit for the new lower signal level Input signal Threshold Signal level de Output signal Time Fast release Input signal Threshold Signal level Output signal Time Slow release Figure 2 Compression fast and slow release signal envelope graphs oret Mana BILRIRI TERIN Chapter 6 Compressor Control Functions Release time plays a very important role in compression During periods of high signal level gain is reduced When the signal level falls below the threshold the gain will increase at a rate determined by the RELEASE control knob If the release time is short the gain will rise quickly A long release time will mean that the gain will stay at its reduced level only recovering gradually se
16. installing setting up or operating this equipment please ensure that you have read and fully understand all of this section and the IMPORTANT SAFETY INSTRUCTIONS at the front of this manual This equipment is supplied by a mains voltage that can cause electric shock injury The following special limitations must be observed in order to maintain safety and electromagnetic compatibility performance Safety warnings This equipment is fitted with a mains power socket For safety reasons the earth leads must not be disconnected Signal OV is connected internally to the chassis To completely disconnect this equipment from the AC mains while observing full safety precautions see Power on page vii switch off the mains at the mains outlet It is now safe to isolate the unit by unplugging the mains lead from its rear panel To avoid electrical shock do not remove covers Refer servicing to qualified personnel only The power supplies even the DC ones have a high current General precautions The following information gives basic safety precautions that should be observed to reduce the risk of fire electric shock and personal injury e Never operate damaged equipment and never operate equipment with damaged cables Do not remove obscure or deface any warnings or cautions Power Please note that the system power supplies contain LETHAL VOLTAGES greatly in excess of the mains voltage and that its
17. rails can produce extremely large currents that could burn out equipment and wiring if shorted All testing and servicing must ONLY be carried out by approved service engineers This apparatus should only be operated with the power supply connected to ground via the ground in the mains connector The internal power supplies are of the switch mode type that automatically sense the incoming mains voltage and will work where the nominal voltage is in the range 100VAC to 240VAC When removing the equipment s electric plugs from the outlets always hold the plug itself and not the cable Pulling out the plug by the cable can damage it Never insert or remove an electric plug with wet hands Handling the equipment Completely isolate the equipment electrically and disconnect all cables from the equipment before moving it When lifting or moving the equipment always take its size and weight into consideration Do not insert your fingers or hand in any gaps or openings on the equipment for example vents Avoid inserting or dropping foreign objects such as paper plastic metal etc into any gaps or openings on the equipment for example vents If this happens immediately disconnect the equipment from the mains see Safety warnings on page vii Then have the equipment inspected by the manufacturer s qualified service personnel DN540 Operator Manual Precautions Installation Before installing the equipment
18. unbalanced connector The following diagram shows the wiring details for the insert send return 1 4 TRS connector XLRs Console Single channel DN540 rear panel connections 9 rear of unit Ye E E o ___ c e Female XLR cL EN Male XLR Ring Sleeve 1 1 2 Tip Se Female XLR 7 2 EN 9 Male XLR p Powering the unit To power up the unit switch on the power at the mains power outlet The blue power LED on the front of the unit far right will illuminate to show that power is on Your unit is now ready to operate To switch off the DN540 switch off the mains at the mains power outlet Then to electrically isolate the unit remove the mains cable from mains IEC socket on the rear panel MERITI 12 Operator Manual Chapter 4 Front Panel Overview The front panel of the DN540 has four main channel sections each containing a number of control knobs pushbuttons and LEDs of the switches on the front panel are of the latching pushbutton type and have two positions in on and out off Each of these switches have an associated LED that illuminates to show when the switch is on Description The front panel comprises four channel sections and a power on off indicator LED 1 2 CHANNEL 1 gt 2 9 25 ms MIR I P 01 25 THRESHOLD m ATACK RELEASE AUTO O6
19. usually stated as a dB ratio called CMRR at a given frequency Note On balanced circuits the hot signal is also known as ve and in phase while the cold signal is also known as ve and out of phase gt 33 RLAR MERNI H FN Tai DN540 E Eus 34 Operator Manual Appendix D Technical Specification This appendix contains the technical specifications specific to the DN540 Inputs Outputs External sidechain inputs Performance Compressor Terminations Power Requirements Dimensions Four Type Impedance Maximum input level Common mode rejection Four Type Signal drive capability Output impedance Maximum output level Four Type Impedance Maximum input level Common mode rejection Maximum signal level any input or output Frequency response Dynamic range Noise at main output with unity gain Distortion at 1kHz OdBu with steady unity gain condition Signal delay Threshold Ratio Attack Release Presence Gain Audio Power Voltage Frequency Consumption Height Width Depth Analogue electronically balanced female XLRs Pin 2 hot 10k ohms 22dBu Typically 80dB at 1kHz Analogue electronically balanced male XLRs Pin 2 hot lt 600 ohms lt 60 ohms 22dBu Analogue electronically balanced Jack sockets 20k ohms 22dBu Typically 60dB at 1kHz 22dBu 0 5 input to output 20Hz to 20kHz
20. DN540 Creative Quad Compressor Operator Manual Klark Teknik Klark Teknik Building Walter Nash Road Kidderminster Worcestershire DY 11 7HJ England Tel 44 1562 741515 Fax 44 1562 745371 Email info uk telex com Website www klarkteknik com DN540 Creative Quad Compressor Operator Manual DOC02 DN540 Issue A March 2009 Telex Communications UK Limited In line with the company s policy of continual improvement specifications and function may be subject to change without notice This Operator Manual was correct at the time of writing E amp OE bul kaka Uulu SIGNAL PROCESSING BY DEFINITION OU UN 10 IMPORTANT SAFETY INSTRUCTIONS Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with a dry cloth Do not block any of the ventilation openings Install in accordance with the manufacturer s instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electricia
21. EE on the environment during their life times and when they become waste The WEEE directive addresses the disposal of products when they have reached the end of their life and contributes to the reduction of wasteful consumption of natural resources This will help to reduce pollution and protect the environment and ourselves If this equipment carries a crossed out wheelie bin shown left please do not dispose of WEEE as unsorted municipal waste but collect and dispose of in accordance with local WEEE legislation The horizontal bar underneath indicates that the product was placed on the EU market after 13th August 2005 For WEEE disposal see our website at www klarkteknik com for information 35 MERITI 4o Operator Manual Thank you for reading through this Operator Manual We hope you found it useful Please feel free to send us your comments Our contact details and website address can be found at the front of this manual T SIGNAL PROCESSING BY DEFINITION Klark Teknik Klark Teknik Building Walter Nash Road Kidderminster Worcestershire DY11 7HJ England Tel 44 1562 741515 Fax 44 1562 745371 Email info uk telex com Website www klarkteknik com 2009 Telex Communications UK Limited
22. ally suited for vocals 6 1 in 098 HARD PRESENCE LEVEL 25 O 1ms D BYPASS AT A limiter is essentially an extreme form of compressor that only affects signals above selected threshold level dB This is particularly useful for limiting only peaks in the signal while leaving the rest of the signal alone A limiter acts as a last check on signal level If the level goes over threshold fast acting high ratio compression is applied to bring it back within bounds To set up the DN540 as a limiter select the compressor to operate in manual and hard knee mode see Manual mode with hard knee linear peak on page 24 with attack set to fastest 20ms and the ratio set to infinity to one 9 1 Adjust release to suit the programme and set threshold as required Lek 11 24 Operator bee Modes of operation Threshold level Unprocessed signal Signal level Threshold level Limiting Signal level Time Figure 6 Compression limiting signal level graphs If a compression effect is required together with limiting of high level transients two channels of the DN540 may be cascaded The output of Channel 1 compression is fed to the input of Channel 2 limiting which gives powerful two stage control over gain 20 Output level dB Input level dB 0 1 20 Figure 7 Limiting and compression graph Below the co
23. amount of soft knee is still retained to keep the sound reasonably natural but it does not modify or slow down the envelope allowing fast acting limiting if desired The difference in the effect produced by soft knee and hard knee compression is more noticeable at higher ratios MERITI 22 Operator Manual Chapter 7 Using Compressor The DN540 is a dynamics processor that utilises premium quality high precision components to achieve a high degree of accuracy and control The DN540 has been designed primarily for creative use as front of house FOH or monitor However it is just as effective when used in the studio while broadcasting or recording The DN540 processors offer in a compact unit control over the dynamic range for creative and corrective purposes Modes of operation The compressor has the following two modes of operation which are selectable via the AUTO pushbutton Manual mode AUTO off Linear type of compression where the attack and release time constants can be adjusted manually via the ATTACK and RELEASE control knobs This provides a more advanced style of compressor operation typically to produce creative effects Auto mode AUTO on RMS type of compression where the attack and release envelope time constants are adjusted automatically taking into account threshold and ratio settings relative to signal levels and transients Both of the compressor modes operate in either soft
24. ccount threshold and ratio settings relative to signal levels and transients This makes the DN540 ideal for the novice user or for situations where there is not enough time to set up the envelope manually The presence control will be especially useful on vocals to eliminate pumping effects caused by for example cymbal spill because singers typically stand with their microphones mics pointing directly at the drum riser and to add air to the sound without introducing noise The DN540 has been primarily designed for the following main application areas Touring live sound In applications where analogue consoles are still required due to their ease of use Here the DN540 can be used for channel inserts on drums bass guitars and other instruments The compressor can be used to control both the dynamic range and to generate musical effects The presence control reduces pumping on vocals and also increases brightness to a desired level without increasing the risk of squealing if mics are held too close to monitor speakers Theatre live sound Theatres can make use of the compressor in the same way as touring live sound for vocals and orchestra but in this case they can probably make more use of the compressor s more transparent linear style The presence masking is useful increasing vocal brightness without bringing up the noise floor which may be quite poor due to the use of radio mics and mic placement limitations Corporate l
25. clockwise results in less output which matches the threshold and make up gain Output level dB Output level dB Input level dB Input level dB 0 2 0 20 10 1 0 20 10 1 10 10 20 20 2 1 12 1 Figure 3 Compression ratio graphs of 2 1 and 12 1 As can be seen from the graphs in Figure 3 Compression ratio graphs of 2 1 and 12 1 the higher the ratio the greater the effect At a compression ratio of up to 2 1 the effect is mild and suitable for the subtle compression of vocals or of a complete mix At 3 1 compression is becoming stronger and more noticeable Ratios between 3 1 and 5 1 are suitable for the compressor sound which is used as an effect in its own right Higher ratios are used for the control of extremely peaky signals MERITI 20 Operator Manual Threshold Threshold The compression threshold is the point at which the compressor begins to operate Signals that exceed this point that is go over threshold will be affected by compressor actions However signals below the threshold do not trigger any compression but may still be affected by compression releases from previous over threshold signals If the compressor is being used as a limiter the threshold level is the level at which the limiter begins to operate Presence The presence function protects the mid high frequencies during compression It does this progressively so that the compressor appears to operate wit
26. ction so that they provide a screen when connected to a console and where appropriate they should have Pin 1 connected to the cable screen In the event of ground loop problems disconnect the signal screen at one end of the connecting cables Note that this can only be done when the equipment is used within a balanced system Radio frequency interference Class A device This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instruction manual may cause harmful interference to radio communications Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense Electric fields Caution In accordance with Part 15 of the FCC Rules amp Regulations changes or modifications not expressly approved by the party responsible for compliance could void the user s authority to operate the equipment Should this product be used in an electromagnetic field that is amplitude modulated by an audio frequency signal 20Hz to 20kHz the signal to noise ratio may be deg
27. d lowest levels Applying compression reduces the highest levels thus reducing the dynamic range while leaving the signal below threshold relatively unaltered Because the peak level of the signal is now lower make up gain is added to restore the original peak level The result is a much more controlled and usable sound Uses of compression Compressors were originally devised to reduce the dynamic range of audio signals To do this they use a gain cell that makes adjustments to signal levels automatically dependent on the level and dynamic of the signal itself and depending on the character and control settings of the particular compressor unit Over the years many different brands of compressor have been produced using many different types of gain cell technology each with a distinctive sound Users have found applications that suit many of these taking the use of compressors far beyond simple dynamic range reduction and sometimes even generating the complete reverse dynamic enhancement Typical applications include e Protecting systems from amplitude overload Improving the power of signals when an artiste s performance is inconsistent Maintaining a stable signal level to help an instrument sit better within a mix e Changing the percussive timbre of an instrument to produce more punch Compressing a mix so that it maintains a stable signal level typically trying to make it sound louder e Changing the percussive t
28. e Figure 2 Compression fast and slow release signal envelope graphs The setting of the correct release time is a compromise If it is too short background noise can cause effects such as breathing and pumping A release time that is too long results in a signal that is not compressed but merely reduced in level For effective compression the release time must be set as short as possible before modulation of the background noise becomes too noticeable The ATTEN gain reduction meter will show how much actual compression is occurring If it is steady there is little active compression just a steady state reduction in level The faster the meter level moves up and down the harder the compressor is working Ratio Ratio is the strength of compression above the threshold level and controls the amount of compression applied to signals that are over threshold Ratio is expressed as a ratio of signal level changes from input to output For example when the compressor is set to 2 1 every 24 input level change will only generate 1dB output level change assuming the signal levels are over threshold The highest ratios are achieved when the ratio control is fully anti clockwise Note Although the RATIO control knob on the DN540 operates in the opposite way to more conventional units that is the ratio is increased by turning it anti clockwise rather than clockwise we feel this is better ergonomically This is because turning the control anti
29. e a slow attack time to thicken the sound Try the compressor in manual mode with high ratios slow attack medium release and soft knee Stringed acoustic instruments Acoustic instruments benefit from subtle processing Settings that are too aggressive can sound unnatural For best level control try using auto mode and soft knee with high ratio and the threshold set quite high For more control of instrument timbre try manual mode set to slow attack and medium release with a low ratio and the threshold set a little lower Experiment with the presence accentuation Stringed electric instruments Here the compression process can become an integral part of the instrument s sound Try aggressive compression on electric bass and guitars Use manual mode and hard knee set up with fast attack and release on a medium to high ratio around 3 1 To accentuate the leading edge of sounds slow the attack a little Brass instruments Compression is useful for thickening thin sounding instruments and compensating for less than perfect mic technique Try auto mode and soft knee with high ratios 4 1 Vocals Try the compressor in auto mode with a ratio of around 2 1 or soft knee with 3 1 ratio Presence accentuation will allow the threshold to be brought much lower or the ratio raised for increased compression while retaining intelligibility Presence accentuation Many instruments have a percussive start to notes that are played These co
30. ffectively defeats the presence feature completely As PRESENCE is turned clockwise the protective filter is activated At the MAX setting which is 3dB at 5kHz the frequencies around 5kHz are hardly reduced in level at all whereas the lower frequencies and very high frequencies are still compressed significantly 10 0 MAX 10 20 dBu 30 40 IN 50 M 60 10 20 50 100 200 500 1k 2k 5k 10k 20k 50k 100k Hz Figure 4 Presence frequency response curves gt 21 MERNI H Chapter 6 Compressor Control Functions Soft knee and hard knee The point where the slope of the compressor curve changes is known as the knee The DN540 set to operate as either a soft knee or hard knee compressor the effects of both can be seen in Figure 5 Soft knee and hard knee graphs 10 1 Threshold 0 Threshold 10 1 1 1 Soft knee Hard knee Output signal Output signal Increasing input signal level Increasing input signal level Figure 5 Soft knee and hard knee graphs Soft knee compression gives a more gradual transition as the signal passes the threshold ratio changeover point The ratio value of signals approaching threshold increase exponentially in proportion to the input signal level At threshold the ratio level becomes that selected via the RATIO control knob Soft knee is useful on high ratio compression or limiting as it is less obtrusive than hard
31. g the master and the other group members being 5 The master channel s settings override those of the slaves with the exception of the BYPASS and EXT pushbuttons and the PRESENCE and GAIN controls which still act independently The external sidechain still functions when linked because the slave channel sidechain is summed with the master and any other slaves within the group Figure 8 All combinations of channel linking A group can contain two three or four members and you can have two groups by linking channels 1 and 2 and 3 and 4 For all possible linking combinations see Figure 8 All combinations of channel linking which also illustrates that the master is always the lowest numbered channel within the group The audio inputs to the master channel and also any slaves in the linked group are all used to control the action of the dynamic processor The channel with the highest signal level will have the most effect on the linked group As all the voltage controlled amplifier VCA controls are also linked together the attenuation applied to the linked channels in the group will always be identical Each slave s gain reduction meter ATTEN will track its group master channel exactly Dias Manual 27 RLAR Chapter 7 Using The Compressor When LINK is switched on the compressor sidechains of the linked channels are combined by a true power law summer such that a single source panned from left to righ
32. h two different ratios one for low frequencies normal and the other for mid high frequencies reduced ratio The primary effects of this are e Heavy compression and dynamic control can be applied without the programme sounding unnatural Reduced compression in the presence band where the ear is most sensitive and where there is comparatively little acoustic energy masks the dynamic control that is applied to the high energy high and low frequency signals The compressed material sounds brighter However because no high frequency gain is added when compression is not required noise during quiet passages is reduced and the tendency for high frequency howl round which can often be a problem if air brightness is added by conventional EQ post compression is also reduced Side effects of this approach are that the high frequency content of spill remains more consistent and pumping is therefore much less noticeable Some DN540 frequency response curves are shown in Figure 4 Presence frequency response curves on page 21 which help to illustrate the effect of the presence function The curves were produced with the compressor at 50dB attenuation and with the PRESENCE control knob set to MIN MAX and an intermediate value Note how the MIN setting produces the flat line towards the bottom of the graph At this setting all audio frequencies are attenuated by the same amount as set by the threshold ratio and input signal level which e
33. hich is a fuse drawer Printed just to the right are the mains supply voltage and fuse eas details SUPPLY VOLTAGE The mains input is an auto voltage 100240 sensing switch mode power supply E that operates where normal mains 8 L 250V voltage is in the range 100V AC to TO REDUCE RISK OF FIRE REPLACE WITH SAME TYPE OF FUSE 240V AC Fuse drawer The fuse drawer houses the mains fuse at the rear of a two compartment drawer The front compartment provides room for a spare Always replace the mains fuse with one of the same type of and rating as printed to the right of the fuse drawer Channel connector section There are four similar channel sections on the rear of the DN540 Each section comprises a male output and a female input XLR chassis EXTERNAL connector and a 1 4 TRS connector These are ae for connecting to external line level signals such as a mixing console s insert connections 17 KLER MERMI FN Tai DN540 E Eus 18 Operator Manual Chapter 6 Compressor Control Functions This chapter explains the control functions of the DN540 compressor Attack Attack is the time it takes for the compressor to respond once the threshold has been exceeded Attack may be set so that the initial transient of the instrument passes through unaltered or set to a faster value so that the very start of the sound is compressed Particularly with
34. imbre of a mix to make it sound more whole and add punch e Frequency conscious compression to remove unwanted sibilance or popping Unwanted side effects Very often the process of compression produces unwanted side effects especially if the chosen compressor does not match the application it is being put to very well These can include Breathing when high frequency environmental or processing noise levels jump up and down sounding similar to someone breathing in the background Pumping when level modulation can be heard on an instrument making it sound unnatural Amplitude flutter a faster oscillating modulation that makes sounds gritty Source inter modulation when one sound source within a mix causes amplitude changes to another for example the natural decay of cymbals can be modulated by the crack of a snare drum in a drum mix e Transient enhancement unwanted accentuation clicks at the start of a sound Dull sound when all the natural attack and brilliance is stripped away from the sound source 2153 6 Operator Manual Unwanted side effects Providing controls for threshold attack release and ratio and providing responsive metering can go along way towards helping with suitable parameter set up for any signal source such that most of the negative effects above can be reduced or eliminated However this is a complex and critical task that often involves a degree of com
35. ive event above transparent control and effects can be used on channel inserts 2153 2 Operator Manual Features Features The DN540 has the following features Great sounding compressor that provides good audio performance at extremely low noise and distortion levels Easy to use basic compressor requiring minimum set up to produce excellent results Advanced envelope generator with manual controls that can be easily switched in or out to produce transparency or creative dynamic effects as required for any given source material Extremely transparent compression Multiple compression styles that are easily matched to the programme material and or generate dynamic effects Unique and intuitive presence control that improves the high frequency sound quality without increasing noise or squealing howl round Intuitive turn it up turn it down control knob labelling avoids confusion during fast adjustment Also good control status visibility enables you to see the status of all pushbuttons which are boldly presented to avoid mistakes Comprehensive metering making set up simple and intuitive Totally analogue which precludes the use of complex set up menus and means that there is absolutely no audio delay Thus compressed and non compressed signals can be recombined without producing comb filter effects Stereo and multiple channel linking Linking has true power summing so that it always provides true
36. knee Most compression sounds more natural in soft knee mode and thus this is the default setting Soft knee compression blurs the distinction between over threshold and under threshold signals such that signals that are a long way below threshold remain unaffected by compression and signals that near the threshold get compressed but at greatly reduced ratios When signals are just over threshold the compressor ratios are still somewhat reduced and it is only when signals go well over threshold that full ratio compression is applied The soft knee character is produced after the envelope generation such that it also modifies the envelope shapes and typically slows attacks on the programme when it is in the knee area This effect is similar to many vintage compressors where they exhibit soft knee characteristics due to non linearities in the gain reduction element and provides a very natural sounding compression generating more full bodied punch and definition when attack times are deliberately set very slow In hard knee mode the compressor operates as soon as the input signal reaches threshold level and is better suited to a limiting style of compression This gives a more defined transition between under threshold and over threshold imposing the new ratio selected via the RATIO control knob on the signal This mode is useful as a brick wall limiter which stops transients without affecting the lower level signals In this mode a small
37. knee or hard knee Manual mode with soft knee linear peak With the AUTO and HARD pushbuttons switched off the compressor is peak sensing oO RE CHANNEL 1 1ms ms with manually adjustable attack and release envelope characteristics The soft knee affects 20 1 the attack shape which noticeably slows the lt 3 AUTO onset of compression This can be particularly 2 2 002 useful drums to emphasise transients giving them more punch while retaining good T om deal of artistic dynamic from the drummer EE The compressor normally sounds best applications that require slower attack time settings If faster attacks are needed it is normally best to switch on the hard knee gt 23 Ulam H Chapter 7 Using The Compressor Manual mode with hard knee linear peak With the HARD pushbutton switched on the compressor is peak sensing with manually a CHANNEL 1 B adjustable linear attack and second order wo 9 Olms release envelope characteristics For limiter applications a high ratio combined with fast EN 5 60 attack times are best set the release slow to fuer 50 minimise distortion on low freguency instruments Lower ratios with slow attack and Tar oz rovide tran rent 3 MN MAX 088 relatively fast release provide transpare Hine 907
38. mplifiers or for cables carrying sensitive or low level signals for example mics A balanced line typically employs connectors of the XLR and 1 4 TRS jack plug types The basic principle of balanced interconnection is the cancelling out of any electrical noise by means of a three cable connection to achieve the required signal Two of the cables called hot and cold are used to carry signals and the third is a grounded shield that surrounds the hot and cold cables An unbalanced connection only has two cables one of which the grounded shield is also used for signal return As the hot and cold cables are of equal voltage and the same source impedance but of opposite polarity when they are subtracted any noise voltages caused by interference and noise pick up appearing identically on both cables is cancelled out the difference between them being the resultant signal However in practice the electrical noise on both cables will never be identical and the degree to which it is reduced is measured by the common mode rejection ratio CMRR The electronically balanced input and output connections of the DN540 have the benefit of high common mode rejection CMR which eliminates externally induced interference such as mains hum etc CMR is the ability of a balanced input to reject the part of the incoming signal that has the same amplitude and opposite phase on both input terminals referenced to ground As a specification CMR is
39. mpression threshold the signal is unaltered In the example shown in Figure 7 Limiting and compression graph the first threshold is compressed at a mild 2 1 ratio Whereas at the second threshold it is firmly limited at a ratio of 20 1 gt 25 MERNI H Chapter 7 Using The Compressor Simple compression auto mode For many every day compression jobs an RMS compressor with automatic time constant set up attack and release is the best solution providing quick and easy set up The RMS compressor slows the time constants on relatively steady state signals reducing distortion and pumping and when large signal changes occur they automatically speed up capturing and constraining the bulk of any large sound level variations Very often combining the automatic time constant adjustment with ratio and threshold is all you need to set up a good sounding compression The DN540 auto compressor operates in exactly this way providing simple fast set up on straight forward compression jobs Advanced compression manual mode RMS compressors are not fast enough to capture everything on transient material because the averaging process always adds some delay thus they are not suitable for ultimate protection against system overloads etc Also their creative use to tailor percussive instruments is very threshold dependent and often results in attacks that are either too fast or too slow for the desired effect unless the sou
40. n for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 12 13 14 15 16 17 The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the product Only use attachments accessories specified by the manufacturer Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to qualified personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped Use the mains plug to disconnect the apparatus from the mains Warning To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Warning Do not expose this equipment to dripping or splashing and ensure that no objec
41. nd source is extremely regular which is not typical with most musicians For more difficult compression duties a compressor with fully adjustable attack and release is a better choice With this style of compressor there is no averaging process delay so that the action of attack or release can start the instant there is a change in signal amplitude that requires it The user must define the rate of response and can adjust this precisely to match the sonic effect required on the source material Normally this also results in high distortion on constant signal levels because the compressor attacks and releases on every cycle but advanced compressors utilise windowing methods whereby the time constants set are greatly increased on steady state material Another technique used is to automatically apply a little hold before any release commences The above techniques are integral to the semi linear attack and second order release characteristics of the DN540 normal mode compressor Linear attack provides a constant rate of attack in dB against time such that large changes in programme signal level take a little longer to compress than smaller ones However on material with more constant signal levels the attack rate of the DN540 manual mode compressor automatically reduces This appears as a curvature in the linear attack rate characteristic as it nears completion hence the term semi linear This makes the compression very transparent providing
42. nstallation This unit is designed for mounting in any 19 EIA standard rack Four rack mount holes in the front panel are provided for rack mounting and are designed to fully support the weight of the unit in the rack Note Avoid over tightening the rack mount screws as this could damage the front panel The position of the unit will depend upon how it is to be used However when positioning the unit avoid placing it where the control knobs may be damaged by being accidentally knocked or snapped off Also try to avoid placing the unit directly near or on any power distribution units or power amplifiers DN540 Operator Manual 9 RLAR MERNI H Chapter 3 Getting Started Connecting the power cable Making sure that the mains power at the power outlet is off connect the mains cable supplied with your DN540 to the mains power outlet and then to the mains socket at the rear of your unit Connecting the audio cables Making sure that all equipment is switched off connect your 540 to the rest of your audio equipment as shown in the following subsections For more information on balancing see Balanced unbalanced audio on page 37 Channel I O pin outs The following shows the channel I O pin outs for the male and female XLR connectors on both balanced and unbalanced circuits Male XLR Female XLR chassis chassis connector connector Rear of DN540 EXTERNAL SIDECHAN 1 ih 1 Pin out Balanced I O Unbalanced I
43. ntain the bulk of the signal harmonics that are recognisable and that we use to distinguish one instrument from another Without this initial attack most instruments sound quite similar and very dull Unfortunately this is what tends to happen when they are compressed as compressors capture much of the percussive start and reduce it in level more than they reduce the remainder of the sound Although it is not as extreme as totally removing the start of notes it still strips much of the harmonic content and removes presence from the sound This can be corrected by using equalisation to boost the upper frequencies However this is dangerous in sound reinforcement because when the instrument is silent and the ie Manual 29 MERNI H Application Notes compressor relaxes there is no gain reduction but the upper frequency boost remains increasing noise and making microphonic feedback much more likely The DN540 s presence accentuation corrects the tendency for dull sound during compression without changing the sound of uncompressed signals It reduces the ratio of the compressor in a relatively broad range of frequencies centred on 5kHz and the effect is continuously variable so as much presence accentuation can be added as needed or to suit taste When presence accentuation is applied any compression acts on the high frequencies to a lesser extent than the low frequencies by an amount set by the user The transient at sta
44. ocal range while allowing the low and high frequencies to be compressed normally Switches the compressor to hard knee When this button is switched off the knee type is soft knee On off status indicator for the HARD knee pushbutton Controls the amount of compression applied to over threshold signals Gain reduction meter The compressor meter has 1dB 2dB 3dB 6dB 10dB and 20dB LEDs No additional time constants are applied to the meter so that the actual envelope speeds can be easily seen The gain reduction meter continues to function normally when the DN540 is set in bypass The bypass indictors are illuminated boldly to signal this fact to the user Adjusts the operating point of the compressor Removes compressor dynamic filter from the signal path 2353 DN540 14 Operator Manual Switch section Item Type Label Function 11 LED red Not applicable On off status indicator for the BYPASS pushbutton 12 LED meter LEVEL Signal level meter The meter has 18dB 12dB 6dB OdB 6dB 12dB LEDs for displaying the output signal level default When the MTR I P pushbutton is on the meter displays the input signal level Switch section The switch section has four switches for changing the compressor mode switching the 8 signal level meter from output signal to input signal external sidechain channel linking 7 2 AUTO MIR I P 1 m 5 4
45. odulated by the compression of a sound source Similarly for the reduction of source inter modulation presence masking can eliminate this effect Reduction of pumping Because human hearing is so sensitive to presence band frequencies stabilising their dynamic response with presence accentuation can mask the pumping effects at lower frequencies Reduction of dull sound and increased brilliance It is often tempting to boost high frequencies to get sounds to cut through a mix but in sound reinforcement this increases the likelihood of howl round Presence accentuation can help to increase the brilliance of compressed sounds by correcting their tendency to sound dull and with increased use it can be used creatively to add even more high frequency energy without increasing the risk of howl round Thus the presence accentuation feature of the DN540 adds another tool for the sound engineer that can be used to enhance and compliment the application of many types of compression MERITI 30 Operator Manual Appendix B Functional Block Diagram The following page contains the signal flow diagram for the DN540 31 MERNI H Functional Block Diagram He 2olg i avno dwog orena HHH
46. promise between the desired compression effects and the unwanted side effects which can be time consuming Operator Manual 7 FN TEN DN540 8 Operator Manual Chapter 3 Getting Started Observing the IMPORTANT SAFETY INSTRUCTIONS at the front of the manual and the guidelines in Precautions on page vii carry out the following to get your DN540 unit fully operational Unpacking Carefully unpack your DN540 equipment package Then inspect the DN540 unit carefully for any signs of damage that may have occurred during transit and notify the courier immediately if you discover any Check the contents of your DN540 equipment package If there are any parts missing incorrect or faulty please contact your local distributor or Klark Teknik at the address at the front of this manual The following is a list of the main items contained in the DN540 package Quantity Description Part number 1 DN540 unit Not applicable 1 DN540 Operator Manual this document DOC02 DN540 1 Warranty card DOCO4 WARRANTY 1 Mains lead PWR21 MAINSLEAD Please retain the original packing in case you should need to return the equipment to the manufacturer or supplier or transport or ship the unit later Checking the mains fuse Before installing the equipment you need to make sure that the mains fuse fitted is of the correct type and rating for your unit To do this refer to Replacing the mains fuse on page 39 I
47. raded Degradation of up to 60dB at a frequency corresponding to the modulation signal may be experienced under extreme conditions 3V m 9096 modulation Operation To avoid electrical shock never operate the equipment with the covers removed Safety equipment Never remove for example covers housings or any other safety guards Do not operate the equipment or any of its parts if safety guards are ineffective or their effectiveness has been reduced 2353 DN540 Operator Manual Optional equipment Unless advised otherwise optional equipment must only be installed by service personnel and in accordance with the appropriate assembly and usage regulations Special accessories To comply with part 15 of the FCC Rules any special accessories that is items that cannot be readily obtained from multiple retail outlets supplied with this equipment must be used with this equipment do not use any alternatives as they may not fulfil the RF requirement Precautions DN540 Operator Manual ix FN TEN DN540 Operator Manual Contents Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Introduction 1 OV ET EWA 1 Applications aa So eee 8 2 5 T ae ae oe 3
48. rt of a sound is greatly reduced in the low frequency content which is where all the power that needs to be controlled lies but the harmonic content is preserved in a more natural and dynamic state The presence band has been specifically located in an area where we are most perceptive to sounds so that reducing compression ratios in this area allows much greater compression to be applied at the other frequencies without sounding unnatural Presence accentuating compression can produce results that are very similar to multi band compression but with only one additional control required as opposed to many it is much more straightforward to set up and uses far less rack space Some additional corrective benefits from presence accentuation are Reduction of source inter modulation It is very common for pop rock singers to stand in front of drum kits and unless suitable screens are placed between them there will be a lot of spill from the kit Often you can hear the compressor on the vocalist modulating the spill from cymbals which sounds very unnatural This can be eliminated by using the presence accentuation to stabilise the higher frequencies and if that makes the vocals sound too bright the high frequencies can be reduced a little using EQ thus reducing the spill and reducing the chances of high frequency howl round e Reduction of breathing Most processing noise occurs in the presence band and it is much more noticeable when it is m
49. s attack and release are activated by disabling auto mode and operating the DN540 in manual mode The DN540 can then be used for creative compression effects using a semi linear attack shape DN540 Operator Manual i pa Uni Chapter 1 Introduction The presence control progressively reduces compression in the 5kHz region Attenuation depth and input level meters are provided plus a switch that changes the output level meter to monitor the input signals A external sidechain input on the rear panel is switchable via the front panel Applications The DN540 provides a quality cost effective and compact compressor unit presented in a traditional 1U quad channel format This makes it ideally suited to applications where space is limited or when there is no need for eight channels The default compressor mode manual is ideal for creative compression whereby the manual envelope controls for attack and release can be adjusted as necessary This mode provides a semi linear type of compression which is suited to percussive instruments especially thickening drums and difficult instruments or for more advanced effects where the added manual control gives vastly superior results as compared to auto mode The auto compressor mode with the pushbutton AUTO on provides a root mean square RMS type of compression This mode is easy to use because the envelope time constants attack and release are automatically adjusted taking into a
50. some dynamic control but without unduly affecting the intentional dynamic content of the source material This type of compression can be used on difficult instruments such as acoustic guitars with slower attack time settings and relatively fast release to keep an equal perceived loudness within a mix without producing excessive amplitude flutter or distortion It can also be used with faster attack times to capture dynamic instruments like electric bass guitar without adding excessive distortion on constantly compressed passages Adding soft knee noticeably delays the onset of attacks which can be particularly useful on drums where compression can be applied to emphasise transients giving more punch while retaining a good deal of artistic dynamic from the drummer Thus when suitably adjusted the manual compression mode is suitable for any task such as to capture fast transients in order to provide system protection producing subtle compression of dynamic range without changing timbre or removing intentional accents made by the artiste or to deliberately thicken transient sounds ERMIR 26 Operator Manual Stereo and multiple channel operation linking Stereo and multiple channel operation linking Using the intermediate LINK switches in channels 1 2 and 3 you can link to the adjacent channel on the right for stereo or multi channel operation Linked channels form a group with the lowest numbered channel in the group bein
51. t will not change the compression levels that have been applied to it Sidechain For most applications the DN540 is triggered by the level of the incoming signal Sometimes it can be useful to use a different signal to trigger the compressor this signal is known as an external sidechain Each channel of the DN540 has a sidechain input for the compressor In normal use the amount of compression or expansion is related to the dynamics of the input signal The sidechain allows the signal passing through the unit to be controlled by the dynamics of another separate signal Particularly in the case of drums a very reliable trigger can be obtained by taping a contact microphone to the shell of the drum using the clean signal it produces to trigger the compressor An example of this set up is shown below EXTERNAL DN540 rear panel SIDECHAIN 1 External oc Output sidechain input 5 9 male XLR 1 4 TRS jack 5 D connector 50 c X Channel insert point contact mic Snare Contact mi Mic inputs Console Connection to the sidechain input is made via the rear panel jack sockets see Connecting the audio cables on page 10 DN540 I LIMES In 28 Operator Manual Appendix Application Notes The compressor of the DN540 can perform various compression styles for different applications Drums and percussive instruments Drums requir
52. threshold setting for stereo material For example for using the compressor across a stereo group Housed in a compact 1U high unit Puts back dynamics and punch for creative effects About this manual This is the operator manual for the 540 It is intended to help get your DN540 installed and in operation as quickly as possible by giving you unpacking installation connection and setting up instructions To help familiarise you with the DN540 there is a description of the front and rear panels along with easy to follow user instructions DN540 Operator Manual FN TEN DN540 4 Operator Manual Chapter 2 What Is A Compressor The natural sounds of everyday life which can be caused by anything from say the falling of a leaf to the roar of a jet engine vary extremely widely in sound level This variance is known as the dynamic range and is the difference expressed in decibels dB between the loudest and quietest sounds in a piece of audio such as music or speech or that can be reproduced by a piece of audio equipment without distortion The human ear has an automatic gain control that enables it to accommodate all of the sounds ranging from the threshold of hearing to near the threshold of pain a dynamic range of approximately 120dB However a dynamic range of this magnitude even if it were possible in audio equipment is not required in practice for comfortable listening
53. ts filled with liquids such as vases are placed on the equipment Warning The mains plug of the power supply cord shall remain readily operable 2153 Klark Teknik C EC Declaration of Conformity The undersigned representing the following manufacturer Manufacturer Telex Communications UK Limited Address Klark Teknik Building Walter Nash Road Kidderminster Worcestershire DY11 7HJ hereby declares that the following product Product Type Number Product Description Nominal Voltage s Current Freq DN540 Creative Quad Compressor 115V AC 200mA 50 60Hz 230V AC 100mA is in conformity with the regulations of the following marked EC directives and bears the C mark accordingly reference number title 2004 108 EC EMC Directive EMC 2006 95 EC Low Voltage Directive LVD The conformity of the product with EC directives is provided by the compliance with the following standards Standards date reference number title EN50081 1 Generic Standard Using EN55103 Limits and Methods EN55103 Class B Conducted Emissions PAVI EN55103 Class B Radiated Emissions PAVI EN61000 4 4 Fast Transient Bursts at 2kV EN61000 4 2 Static Discharge at 4kV EN60065 7 Edition Electrical Safety e Managing Director Business Line R D Director Business Line Printed name John Oakley Printed name Simon Harrison WERT Place date Kidderminster UK 30th March 2009 Precautions Before
54. ut without distortion Other features include channel linking for stereo and multiple channel operation and a presence control for protecting vocals Your DN540 was conceived by Klark Teknik to offer audio professionals high performance audio equipment designed to provide no compromise sonic quality with a feature set that offers all essential facilities and functions It represents the very best of British design and engineering combined with contemporary efficient manufacturing methods and will give you many years of reliable service All this is backed up of course by the standard Klark Teknik three year warranty Please take the time to complete and return the registration card or fill in the Warranty Registration Form online by visiting our website at www klarkteknik com and to obtain the best results with a minimum of effort also read this operator manual Finally enjoy your Klark Teknik DN540 Overview The DN540 consists of four linkable channels of compression that provide full control of all essential audio compression parameters All this is housed in a compact 1U high rack mount unit Rear panel The main compressor controls consist of continuously adjustable threshold ratio and make up gain and a bypass switch and a hard knee switch Used in auto mode these controls are all that are required to set up simple transparent RMS compression suited to normal not difficult signals The envelope time constant control
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