VocoPro CLG-600 Musical Instrument User Manual
Contents
1. And Thank you for purchasing the CLG 600 from VocoPro your ultimate choice in Karaoke entertainment With years of experience in the music entertainment business VocoPro is a leading manufacturer of Karaoke equipment and has been providing patrons of bars churches schools clubs and individual consumers the opportunity to sound like a star with full scale club models in home systems and mobile units All our products offer solid performance and sound reliability and to further strengthen our commitment to customer satisfaction we have customer service and technical support professionals ready to assist you with your needs We have provided some contact information for you below MLL LAS od La 1728 Curtiss Court La Verne CA 91750 Toll Free 800 678 5348 TEL 909 593 8893 FAX 909 593 8890 VocoPro Company Email Directory Customer Service amp General Information info vocopro com Tech Support techsupport vocopro com Remember Our Website Be sure to visit the VocoPro website www vocopro com for the latest information on new products packages and promos And while you re there don t forget to check out our Club VocoPro for Karaoke news and events chat rooms club directories and even a Service directory We look forward to hearing you sound like a PRO with VocoPro your ultimate choice in Karaoke entertainment FOR YOUR RECORDS Please record the model number and serial number below for easy reference in case of lo2. 11 12 Typical Applications cont Broadcasting Compression has long been used as a tool to make an audio signal appear louder A good example is in broadcasting where competing stations with identical transmitters and power attempt to sound louder than each other Since they are all restricted with respect to maximum audio level modulation their best tactic is to squeeze the dynamic range of their programs to just a few dB The audio output level of the station virtually never changes and the listener perceives this continuous high level sound as being louder than the same material in an uncompressed form Although both compressed and uncompressed programs reach the same peak levels the compressed signal stays near peak level more of the time and thus sounds louder This technique makes the broadcast more intelligible over the road noise in your car and increases the geographical area over which the broadcast is audible to the listener A similar if less pronounced effect can be used in sound reinforcement and recording applications SPECIAL EFFECTS Altering the Texture of Musical Instruments It would be impossible to mention here all the ways that compression is used to create new sounds with familiar instruments Some typical uses are 1 Creating a fatter kick drum or snare sound 2 Thickening acoustic guitars 3 Adding punch and sustain to electric bass or guitar In general use a gentle compression ratio say 4
3. Used wisely your new sound equipment will provide a lifetime of fun and enjoyment Since hearing damage from loud noise is often undetectable until it is too late this manufacturer and the Electronic Industries Association s Consumer Electronics Group recommend you avoid prolonged exposure to excessive noise This list of sound levels is included for your protection Some common decibel ranges Level Example 30 Quiet library Soft whispers 40 Living room Refrigerator Bedroom away from traffic 50 Light traffic Normal Conversation 60 Air Conditioner at 20 ft Sewing machine 70 Vacuum cleaner Hair dryer Noisy Restaurant 80 Average city traffic Garbage disposals Alarm clock at 2 ft The following noises can be dangerous under constant exposure Level Example 90 Subway Motorcycle Truck traffic Lawn Mower 100 Garbage truck Chainsaw Pneumatics drill 120 Rock band concert in front of speakers 140 Gunshot blast Jet plane 180 Rocket launching pad Information courtesy of the Deafness Research Foundation CLG 600 Dual Channel Compressor Limiter with Gate Contents Salety INSUUCHONS occ fences Gone eee ew eae Oe Eee EEE paws eed ous 1 WCICOMC e u tae tn dGtee deel eens beter cuwe staaen tna Cnee es eee een eo ged 4 2 Listening for a Lifetime 2 0 ccc ee 3 POQUINCS oc tsccaesnietaa tee bat bee cee ene ees eee Pe 8 ea ca et eters 4 HO OdUCUON saar seraa e eee r E E we eee 5 WINDACKING 6c cau as ott ae ee ees R
4. Off Threshold 15db Ratio 3 1 Attack Fast Release Medium Slow Output 6db Specifications AUDIO INPUT Type RF filtered servo balanced input stage Impedance 60 k Ohms balanced Nominal Operating Level 10 dBu to 4 dBu Max Input Level 21 dBu balanced and unbalanced CNR 1 kHz gt 40 dB DETECTOR INPUT Type DC de coupled unbalanced input Impedance lt 20k Ohms Max Input Level 20 dBu AUDIO OUTPUT Type Electronically buffered output stage lt 40 Ohms Impedance lt 40 Ohms Max Output Level 20 dBu Bandwidth 5Hz to 50 kHz 0 1 dB THD 4 dBu 0 05 typ THD 10 dBu 0 1 typ IMD SMPTE 10 dBu 0 01 typ Noise amp Hum Unity Gain gt 93 dBu Noise amp Hum Fully Off gt 97 dBu gt 97 dBu Crosswalk 20 kHz gt 85 dBu gt 85 dBu CMR 1kHz gt 60 dB gt 60 dBu COMPRESSOR SECTION Type IKC Interactive Knee Compressor Threshold Variable 40 to 20 dBu Ratio Variable 1 1 to LM Attack Variable 0 1 to 200 msec 20dB Release Variable 0 05 to 4 sec 20dB Output Variable 20 to 2 dB GATE SECTION Type IRC Interactive Knee Control Threshold Variable Off to 10 dB DYNAMIC ENHANCER SECTION Type Dynamically controlled frequency correction Process Variable Off to 6 FUNCTION SWITCHES In Out Bypass switch Auto Program dependent attack and release times INDICATORS CLOSE LED indicates onset of the expander gate 8 Element Gain Reduction Meter 1 4 6 10 15 20 30 dB POWER SUPPL
5. The CLG 600 provides quick and accurate gain control for the prevention of sound system overload due to unexpected peaks transients Sound system distortion is usually the result of amplifiers running out of power in which case nice round waveforms turn into harsh sounding squared off waveforms Looking at it from the perspective of the speaker diaphragm this means that whereas in normal operation the diaphragm is required to accelerate slow down smoothly change direction and accelerate again distorted operation requires an instant acceleration instant stop a change of direction and instant acceleration again Since speaker diaphragms are subject to the laws of physics they won t take this kind of punishment for long The diaphragm may shatter or its voice coil may overheat In addition to the damaged caused by sustained overload the speaker may also be damaged by occasional one shot high level overload for example the sound of a microphone falling face first onto a hardwood floor Even if this type of transient doesn t destroy a speaker outright it may damage the speaker surround in such a way as to cause mechanical abrasion and future failure In this situation Limiting would be used as a protective measure Alternatives for Sound System Installations To install the CLG 600 in a system using a passive crossover insert it between your mixers output and the power amplifier input It may be inserted between the mixer output and the cross
6. 1 with a 10 mS attack time 0 1 sec release time and a low enough threshold to cause 6 to 10dB of gain reduction Try using this effect to help bring out a lead vocal or instrumental solo in a cluttered mix The compressor is also a great corrective tool when working with singers whose own dynamic control is less than perfect A little compression helps to keep their quieter lines from becoming buried in the mix Experimentation is highly recommended Voice Over Compression Ducking The CLG 600 units can be used to automatically reduce music to a background level when an announcer is speaking In this scheme only the music signal is actually gain reduced by the limiter However the detector is connected to respond to an announcer s voice instead of the music s peaks Voice Over compression assumes you are already using some sort of mixer to combine the music and mic signals Use the direct out Send of the mic channel to feed the detector input on the CLG 600 unit Note Be sure to use a mono plug for the CLG 600 Note Be sure to use a mono plug for the CLG 600 detector input Then use the threshold and ratio controls to determine when and by how much the announcer s voice affects the music level Gain Riding One solution to the noise vs distortion trade off is to keep your hand on the level control and manually adjust gain to suit the program Indeed there are times when this approach is entirely satisfactory However in most types of mu
7. N 50 0 30 10 1 5 8 La s OFF 10 40 20 1 01 200 RI RATIO dB N1 ms DE EXPANDER GATE COMPRESSO 0 20 ec AUTO dB R LIMITER 0 5 3 EL p an 1 CLG 600 O O DUAL CHANNEL COMPRESSOR 05 4 20 OFF 6 LO LIMITER WITH GATE wm O reese mm O Sec IN CLG 600 Dual Channel Compressor Limiter with Gate Safety Instructions AN CAUTION RISK OF SHOCK CAUTION To reduce the risk of electric shock do not remove cover or back No user serviceable parts inside Only refer servicing to qualified service personnel Explanation of Graphical Symbols The lightning flash amp arrowhead symbol within an equilateral triangle is intended to alert you to the presence of danger The exclamation point within an equilateral triangle is intended to alert you to the presence of important operating and servicing instructions WARNING To reduce the risk of fire or electric shock do not expose this unit to rain or moisture 1 Read Instructions All the safety and operating instructions should be read before the appliance is operated 2 Retain Instructions The safety and operating instructions should be retained for future reference 3 Heed Warnings All warnings on the appliance and in the operating instructions should be adhered to 4 Follow Instructions All operating and use instructions should be followed 5 Attachments Do not use attachments not recommended by the product manufac
8. analog recording Also with modern trends toward inexpensive digital recording it remains necessary to protect against input overload With digital recording the information stored on tape hard disk optical disk etc is either a 1 or 0 so actual signal level on the tape is not the concern it is with analog recordings in fact it is not even a user controllable parameter What is of concern however is the signal level applied to the A D analog to digital converters If clipping occurs at the converter input stage the resulting distortion is most unpleasant and will be recorded digitally as if they were part of the original audio signal forever mixed with the audio To prevent converter distortion while preserving the extended dynamic range of digital recording look up the max input level of your recorder converter and set up the limiter as follows 1 Set Gain to 0 2 Set Threshold to 2 3 dB below max converter input 3 Set Ratio to 10 4 Set Attack to 2 mS 5 Set Release to 2 Sec 6 Set Output level to 0 If you are exceeding threshold frequently your input signal is probably too high and should be turned down Of course every situation is different so experimentation before final recording is always a good idea but this is a good starting point To obtain a gentler limiting action at the expense of some dynamic range decrease the threshold to 15 and the ratio to 3 5 This is also a good starting point for analog recording
9. time to 5mS Release time to 1 sec 0 a0 gro 2 Adjust equalizer controls to a flat setting and if the equalizer has an overall volume control boost it by 10 to 15 dB 3 Open up several microphone input channels to a normal operating level with typical EQ settings and turn the console master fader up to a louder than normal setting At this point the system should be well into feedback but the room volume will be constant due to the action of the limiter You can listen to the feedback at any level you like by simply varying the CLG 600 s output level control although below a certain monitoring level the feedback will stop 4 Try to determine the feedback frequency and then equalize it by adjusting the center frequency bandwidth and boost cut controls of your parametric equalizer Note a graphic equalizer can also be used although with less accuracy After eliminating the problem frequency try to further define it by sharpening up the bandwidth re attacking the frequency control and making the cut shallower if possible 5 As soon as the first feedback frequency has been removed bring up system gain until another feedback point is induced Repeat the equalization procedure until it becomes impossible to distinguish individual predominant feedback frequencies 6 Return all mixer EQ overall gain and compressor limiter gain controls to normal settings Recording The limiter can be used to prevent tape saturation in
10. EENER E ee 6 AC Power Requirements 2 lt 2 222s2cecseerestsadeeceete vee tote et eteue ew eadedives 6 MOUNLING INStAllAUON isara wetee ee ee er eee etheue tes de ae ee eek pe ae Ee eee eeee es 6 Front Panel Description and Controls 00 0 ccc ee 7 9 Rear Panel Description and Controls 0 0 00 ee 9 Connections and CableS 26 i0602 sheen eseeeesynee cosets need et en eeeeie eee seeesues 10 Typical Applications 6 56 wc eee eee eben wee tees ae eRe Se ee eee ie 10 12 Troubleshooting TipS 0 00 0 eee es 13 Useful Compressor SettingS 0 00 cee es 14 SpecificationS or eae es Se ew ee ee we 15 CLG 600 FEATURES e Two Independent Compressor Limiter Gates in a 1RU Roadworthy Housing e Unique IKC Circuitry Intelligently Combines Hard Knee and Soft Knee Compression Styles Providing Excellent Inaudible and Program Music Compression e Fully Automatic or Manually Variable Attack Release Times Compression Ratios and Threshold Levels Allow Both the Novice and the Experienced User Full Effective Use All Processing Controls e Dual 12 stage Gain Reduction and 8 stage Input Output Meters for Accurate Reliable Metering e Dual Mono or Stereo Operation for a Multitude of Live Studio or Recording Applications e Built In Adjustable Dynamic Enhancer Selectively Replaces High End Loss Even During Severe Compression Produced by High energy or Low End Content So Processed Vocals Remain Vibrant e IRC In
11. V a aw my eo A ULTIMATE CHOICE OF KARAOKE ENTERTAINMENT FEATURES e Two Independent Compressor Limiter Gates in a 1RU Roadworthy Housing e Unique IKC Circuitry Intelligently Combines Hard Knee and Soft Knee Compression Styles Providing Excellent Inaudible and Program Music Compression e Fully Automatic or Manually Variable Attack Release Times Compression Ratios and Threshold Levels Allow Both the Novice and the Experienced User Full Effective Use All Processing Controls e Dual 12 stage Gain Reduction and 8 stage Input Output Meters for Accurate Reliable Metering e Dual Mono or Stereo Operation for a Multitude of Live Studio or Recording Applications e Built In Adjustable Dynamic Enhancer Selectively Replaces High End Loss Even During Severe Compression Produced by High energy or Low End Content So Processed Vocals Remain Vibrant e IRC Interactive Ratio Control Expander Gate Automatically Adjusts Expansion Per the Program Material Eliminating the Noise Floor During Quiet Sections or Music Pauses e 1 4 and XLR TRS Input Outputs Provide for Balanced and Unbalanced Integrations to External Devices e Auto mode Allows for Hands Free Operation of CLG 600 Allowing Users to Focus on Other Aspects of the Show Recording or Broadcast 30 27 24 A 18 15 12 9 6 4 2 INAUDIBLE GAIN 30 27 24 a 18 15 12 9 6 4 2 1 LEVEL 30 2 0 5 3 0 83 45 O oO o O O e0000 00000000C 00000000 WI O 20 10 2 5 2 5 35 p10 20 0
12. Y Mean Voltages 115V 120V 230V 240V VAC 30 60 Hz Power Consumption 9 watts Fuse 320mA 115V 160mA 230V slow blow PHYSICAL Dimensions 1 74 H x 19 W x 8 5 D Net Weight 6 6 Ibs Shipping Weight 9 5 Ibs For improvement purposes modifications may be made from time to time without prior notice Specifications may differ from those above 15
13. d There is a common but incorrect of 0 30 dB notion that limiting always implies the use of an infinite ratio Although there are times when an 12 LEVEL EXPANSION meter This 8 stage meter infinite ratio is desirable there will be situations indicates the actual LEVEL EXPANSION level and where infinite or hard limiting action is neither displays this in a range of 30dB to 6dB appropriate nor necessary 7 ATTACK control ATTACK controls how fast the compressor reacts to signals passing over the threshold point The available range is from 0 1 to 200 ms This control when used correctly creates either a smooth or abrupt signal process Front Panel Description and Controls cont Enhancer Section 13 PROCESS control This control sets the available amount of ENHANCEMENT between OFF and 6 DYNAMIC ENHANCEMENT allows you to replenish any high frequencies that may have become lost during the compression process ENHANCEMENT should only be added when compression is taking place 14 AC POWER terminal This terminal is where the MAINS POWER CABLE is connected NOTE Before your power on the unit make sure you have the correct voltage setting in place 15 FUSE housing This is where the CLG 600 s fuse resides If for any reason the fuse blows it is recommended to seek assistance from a technician prior to re installing another fuse due to the fact that further damage could occur to the CLG 600 NOTE If replac
14. dicate when EXPANSION or GAIN REDUCTION is occurring oR T within a signal process The visual range is from 1 to 30dB THRESHOLD When the GREEN LED comes on that means that OF GAIN REDUCTION is beginning to occur due to input signal EXPANDER GATE peaks exceeding the selected threshold in dB When the RED LED comes on that means that EXPANSION is beginning to occur due to the input signal dropouts falling Front Panel Description and Controls cont 4 IN OUT button This switch enables you to quickly 8 RELEASE control The RELEASE control hear the CLG 600 compressor limiter IN or OUT of the determines how fast or slow a compressed audio chain When the switch is in the OUT position segment returns to its original volume The all limiting and compression controls and functions available range is from 05 to 4 seconds This are bypassed with the exception of the gain and control when used correctly creates either a output controls which continue to function as straightforward level controls 9 AUTO MANUAL switch By activating the AUTO switch to the ON position the attack and release 5 THRESHOLD control The THRESHOLD control controls are handled by the CLG 600 has a range of 40dB to 20 dB allowing applications automatically When it is set to the MANUAL from low level compression to high level limiting The position the attack and release controls will THRESHOLD control determines the audio level above adhere to se
15. in altering process If the noise becomes a problem the solutions are to either decrease noise at the program source or use less compression No Output Check AC power Is the power switch on Check input and output connections are they reversed Are you sure you have an input signal Controls Have No Effect Is the limiter In Out switch In Perhaps the ratio control is set too low to produce an audible effect or the input level is below threshold Is the threshold LED lighting up If not lower the threshold setting or increase the gain Do not expect to hear any effect when the input level is below threshold since the unit is simply a linear amplifier at those levels Excessive Hum or Noise Hum is often caused by a ground loop between components Try using the suggested balanced input and output hookups if the other pieces of equipment used in conjunction with the CLG 600 unit have balanced inputs and outputs Noise can also be caused by insufficient drive levels Make sure you are sending a nominal 0 dBV line level signal to the unit 13 14 Useful Compressor Settings General Use Compression ratio 2 1 Threshold 10 dB Attack 1ms Release 300 ms should give a good amount of punch Big Radio Voice Gate Off Threshold 20db Ratio 6 1 Attack Fast Release Slow Output 10db Drums Gate 30db Threshold 15db Ratio 4 1 Attack Fast Release Medium Output 10db Input from Microphone to Computer Gate
16. ing the fuse ONLY replace with the same type and rating 16 VOLTAGE selector This selector is used to toggle between 115V and 230V power settings Select 115V for a North American based power setting and 230V for a European based power setting NOTE Before your power on the unit make sure you have the correct voltage setting in place 17 AUDIO INPUT jacks Each channel has an AUDIO INPUT section Each AUDIO INPUT section has an XLR and a 1 4 INPUT jack for audio source connections NOTE The XLR and 14 input jacks on the same channel cannot be used simultaneously 18 AUDIO OUTPUT jacks Each channel has an AUDIO OUTPUT section Each AUDIO OUTPUT section has an XLR and a 1 4 INPUT jack for audio device connections NOTE The XLR and input jacks on the same channel cannot be used simultaneously 19 OPERATING LEVEL control Professional level audio equipment just about always employs a 4dBU operating setting while consumer level audio equipment tends to employ the 10dBU setting This control is used to maintain compatibility with both classifications of sound equipment Connections and Cables Balanced vs Unbalanced Audio Connections Balanced signal connections are preferred in pro audio applications because of their improved immunity to induced hum and noise A properly shielded and wired balanced input stage on any audio product will reject most unwanted noise RFI EMI picked up by the cable as we
17. ll as minimize ground loop problems Therefore it is always advantageous to use balanced connections when running signal more than ten or fifteen feet although particularly noisy environments may require that even short patch cables be balanced Unbalanced connections are used mostly for short distance high level signals OdBu nominal Most external EMI noise pick up will be masked under the noise floor of the signal assuming there is little or no gain following the unbalanced signal If a gain stage does follow a signal or if externally sourced noise persists use balanced connectors Inputs and Outputs Your CLG 600 Compressor Limiter is provided with two different connector types 1 4 TRS tip ring sleeve phone jacks and three pin XLR connectors will allow interfacing to most professional audio products TRS balanced connections use the tip as and the ring as signal with sleeve used for ground XLR connectors use pin 2 and pin 3 with pin 1 ground When possible we recommend balanced connections between all components in your system If inputs are used unbalanced the signal should be on the connection and the connection must be tied to ground or signal loss will result While a mono phone plug used as an unbalanced connection will automatically ground the ring of the jack XLR s will not automatically do this so attention must be given to proper wiring Typical Applications The CLG 600 as A Protection Device
18. llows the operator to avoid unexpected volume peaks and secure a much louder and full sounding vocal signal at the same time That is referred to as Compressing Also common is the application of completely removing audible noise from low volume sections of an audio signal i e fans air conditioning units electric hums This is referred to as Gating In any case the CLG 600 offers exceptional performance and precise controls for the Karaoke and audio enthusiasts and with time and experience you will soon harness the full potential of the CLG 600 never doing another show or studio recording without it Common Compression Terms e Threshold Volume level at which the compressor begins compression e Ratio The relative level the volume above threshold will be brought down by e Attack amp Release Attack controls how fast the compressor reacts to signals passing over the threshold point Release is how quickly it stops reacting once the signal passes under the threshold again e Output Gain Amplifies the signal after it has been compressed to compensate for the reduction in high volumes e Hard Knee or Soft Knee These are widely used and referred to styles of compression that can smoothen out threshold point processing or abruptly apply threshold point processing Soft Knee compression uses an acceptable range around a particular threshold point providing a smoother transition Hard Knee compression starts exactly at the th
19. outlet before cleaning Do not use liquid cleaners or aerosol cleaners Use a damp cloth for cleaning 14 Power lines An outdoor antenna should be located away from power lines 15 Nonuse Periods The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time 16 Object and Liquid Entry Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings 17 Damage Requiring Service The appliance should be serviced by qualified service personnel when A The power supply cord or plug has been damaged or B Objects have fallen into the appliance or C The appliance has been exposed to rain or D The appliance does not appear to operate normally or exhibits a marked change in performance or E The appliance has been dropped or the enclosure damaged 18 Servicing The user should not attempt to service the appliance beyond that described in the operating instructions All other servicing should be referred to qualified service personnel Note To CATV system installer s U S A This reminder is provided to call the CATV system installer s attention to Article 820 40 of the NEC that provides guidelines for proper grounding and in particular specifies that the cable ground shall be connected as close to the point of cable entry as practical WILLS LA ULTIMATE CHOICE OF KARAOKE ENTERTAINMENT Welcome
20. over input in which case it will act on the entire audio frequency spectrum Alternately if the limiter is inserted between an output of the electric crossover and the input of a power amp it will only affect a specific band of frequencies Compression for Feedback Control A common practice in sound system setting up is equalizing the room to remove feedback This is generally accomplished by turning up system gain to purposely induce feedback searching for the center frequency of the feedback and then equalizing at that frequency to remove the feedback Once this frequency has been cut system gain is again increased to induce another feedback point and the whole procedure is repeated until the engineer is satisfied that the significant problem frequencies have been corrected The major problem with this approach is that the feedback can easily get out control and the engineer ends up dashing back and forth between the mixer volume controls and the equalizer controls while everyone in the room plugs their ears and prays it will end soon The CLG 600 can turn this procedure into a fast painless job eliminating loud feedback levels and the possibility of soeaker or ear damage 10 Typical Applications cont Compression for Feedback Control Procedure 1 Set up the CLG 600 unit s controls as follows Output level control to 20dB Input Gain control to OdB Threshold control to 30dB Ratio control to infinity co Attack
21. reshold point providing razor like abrupt transitions Unpacking As a part of our system of quality control every Vocopro product is carefully inspected before leaving the factory to ensure flawless appearance After unpacking please inspect for any physical damage Save the shipping carton and all packing materials as they were carefully designed to reduce to minimum the possibility of transportation damage should the unit again require packing and shipping With your new CLG 600 you should have received the following items UNPACKING INAUDIBLE GAIN 7 a ow oas O Goo 35 OFF THRESI INS 0 z oa nowo 8 8 kk LEVEL Jw 10 5 oa s oo0o0000000000c cCH2 00000 s5 10 25 2 5 T s 0 3 10 20 o N n fag E TE py i jcLe soo O O DUAL CHANNEL COMPRESSOR HOLD TH THRESHOLD RATIO m O sse ouput gm O O O W dB Ni msec AUTO Sec dB IN IDER GATE ITER 6 ENHANCER AC Main s CLG 600 Power Cable AC Power Requirements A standard IEC 320 AC inlet is provided on the rear panel of the CLG 600 to accept the detachable power cord shipped with the unit Units are pre selected for 115 VAC 60Hz and should be plugged into a standard NEMA 5 15 3 wire grounded AC receptacle For use of the unit outside the US 230VAC 50 60HZ power supplies are required The CLG 600 will perform normally from 100 to 125 VAC An internal line fuse is used In the event of fuse failure refer to a qualified service technician for servicing Power consump
22. sic there are instantaneous short duration volume peaks or transients which would be difficult to anticipate and impossible to respond to with manual gain riding you simply could not bring the level down fast enough In many situations this can present real problems For example in recording an extra burst of enthusiasm from a lead singer might overload the capabilities of your recording tape causing ragged distortion and necessitating another take In sound reinforcement a sudden burst of energy through the system can blow fuses or even damage loudspeakers In addition to the problem of response time with manual gain riding it also requires your constant attention which takes you away from more important jobs The need for a fast acting reliable automatic gain control is answered by limiters and compressors Troubleshooting Tips Things to remember Unshielded cables improperly wired connectors and cables with broken strands of wire are very common problems Use quality cables with quality correctly wired connectors When using heavy compression background noise is noticeable during quiet sections of the program as defined in the section on compression quiet program material is effectively made louder while loud peaks are made quieter When the program source is thus raised in volume its noise floor is also raised in volume by a proportionate amount This is not a defect in the Compressor Limiter but an unavoidable side effect of the ga
23. ss or theft These numbers are located on the rear panel of the unit Space is also provided for other relevant information Model Number Serial Number Date of Purchase Place of Purchase Listening For A Lifetime Selecting fine audio equipment such as the unit you ve just purchased is only the start of your musical enjoyment Now it s time to consider how you can maximize the fun and excitement your equipment offers VocoPro and the Electronic Industries Association s Consumer Electronics Group want you to get the most out of your equipment by playing it at a safe level One that lets the sound come through loud and clear without annoying blaring or distortion and most importantly without affecting your sensitive hearing Sound can be deceiving Over time your hearing comfort level adapts to a higher volume of sound So what sounds normal can actually be loud and harmful to your hearing Guard against this by setting your equipment at a safe level BEFORE your hearing adapts To establish a safe level e Start your volume control at a low setting e Slowly increase the sound until you can hear it comfortably and clearly and without distortion Once you have established a comfortable sound level e Set the dial and leave it there e Pay attention to the different levels in various recordings Taking a minute to do this now will help to prevent hearing damage or loss in the future After all we want you listening for a lifetime
24. teractive Ratio Control Expander Gate Automatically Adjusts Expansion Per the Program Material Eliminating the Noise Floor During Quiet Sections or Music Pauses e 1 4 and XLR TRS Input Outputs Provide for Balanced and Unbalanced Integrations to External Devices e Auto mode Allows for Hands Free Operation of CLG 600 Allowing Users to Focus on Other Aspects of the Show Recording or Broadcast WALLIS FLA ULTIMATE CHOICE OF KARAOKE ENTERTAINMENT Introduction The CLG 600 Compressor Limiter Gate was designed for use in the Karaoke community but of course can also be used in the multitude of situations that compressors commonly handle If this is your first experience using a compressor or are completely new to the process of compression limiting and gating it is well advised to read this manual thoroughly to best acquaint yourself with them prior to any live application of the CLG 600 The CLG 600 s range of applications can be divided into three basic categories compressing limiting and gating When used as a protective device to prevent audio levels from overloading systems such as tape recorders power amplifiers speakers or transmitters it is generally referred to as Limiting It may also be used to even out a Karaoke performance by deliberately reducing the dynamic range volume range of the overall vocal signal and setting the output gain to bring the compressed signal back to a normalized volume level Doing this a
25. tion is 9 watts Mounting Installation TOP VIEW Rack Unit with Empty Space The CLG 600 mounts in a standard 19 inch equipment rack The mounting screw threads vary with different rack manufactures and you should refer to your rack instructions for proper hardware An oval head or flat head screw with a plastic countersink washer is preferred to protect the finish of the CLG 600 under the screw The CLG 600 is housed in a rugged steel case and can tolerate in the field abuse however proper care will best suit the unit for long life and performance 1 To mount carefully place the CLG 600 in the desired rack space 2 It is recommended to allow at least 4 of space deep in order to make cable connections easily 3 Make sure all four holes are aligned evenly 4 Using an alternating X rotation screw mounting bolts in to ensure even tension and alignment Front Panel Description and Controls _ _ 1 POWER button This button turns the CLG 600 s main power ON OFF CLG 600 DUAL CHANNEL COMPRESSOR LIMITER WITH GATE O GAIN4 30 2 18 15 6 4 LEVEL 10 0 8 45 seseeeeeeesech iloooooooo 3 8 83 A o es EXPANDER GATE SECTION 2 THRESHOLD control The THRESHOLD control has a range of 50dB to 10 dB allowing applications from low NA DIBLE level compression to high level limiting The THRESHOLD control determines the audio level above which gain reduction occurs 3 EXPANDER GATE LED s These LED s in
26. ttings of the controls in place This which GAIN REDUCTION occurs When the allows for unobtrusive musical compression with THRESHOLD LED comes on that means that GAIN widely varying dynamics to occur without REDUCTION is beginning to occur due to input signal manning the sound system peaks exceeding the selected threshold in dB DOD GAIN4 30 2 24 2 18 15 12 9 6 4 2 1 LEVHL 30 20 fio 5 3 O 43 45 See So E 72222 6 0 6 6 20 ap 0 1 200 E RATIO RELEASE OUPUT dB M1 msec AUTO Sec dB COMPRESSOR LMITER 6 RATIO control This control determines the RATIO 10 OUTPUT LEVEL control OUTPUT Level control of change in output level to changes in input level is provided to fully cut or restore up to 20 dB for all signals above threshold The numbers printed of system gain For unity gain set the control to 0 around the RATIO control are calibrated in dB and indicate the increase in input above threshold required to produce a 1db increase in output This can be expressed conveniently as a ratio If the output remains constant no matter how high the NOTE When the unit is in the BYPASS mode the output contro still functions input level we have an infinite input output ratio 41 GAIN REDUCTION meter This 8 stage LED NOTE It should be remembered that the RATIO meter indicates the actual GAIN REDUCTION control has no effect on signals which are below processing level and displays this in range threshol
27. turer as they may cause hazards 6 Water and Moisture Do not use this unit near water For example near a bathtub or in a wet basement and the like 7 Carts and Stands The appliance should be used only with a cart or stand that is recommended by the manufacturer 7 A An appliance and cart combination should be moved with care Quick stops excessive force and uneven surfaces may cause an overturn 8 Ventilation The appliance should be situated so its location does not interfere with its proper ventilation For example the appliance should not be situated on a bed sofa rug or similar surface that may block the ventilation slots 9 Heat The appliance should be situated away from heat sources such as radiators heat registers stoves or other appliances including amplifiers that produce heat 10 Power Sources The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance 11 Grounding or Polarization Precautions should be taken so that the grounding or polarization means of an appliance is not defeated 12 Power Cord Protection Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them paying particular attention to cords at plugs convenience receptacles and the point where they exit from the appliance 13 Cleaning Unplug this unit from the wall
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