Presonus Audio electronic Stereo Amplifier COMP16 User Manual

COMP16  
S M A R T C O M P R E S S O R  
HP4  
H E A D P H O N E D I S T R I B U T I O N  
A M P L I F I E R  
EQ3B  
3 B A N D P A R A M E T R I C E Q A L I Z E R  
USERS MANUAL  
Version 2.0  
PreSonus Audio Electronics  
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COMP16  
S M A R T C O M P R E S S O R  
HP4  
H E A D P H O N E D I S T R I B U T I O N  
A M P L I F I E R  
EQ3B  
3 B A N D P A R A M E T R I C E Q A L I Z E R  
USERS MANUAL  
Version 1.0  
© 2003, PreSonus Audio Electronics, Incorporated.  
All rights reserved.  
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W A R R A N T Y  
PreSonus Limited Warranty  
PreSonus Audio Electronics Inc. warrants this product to be free of defects in material and  
workmanship for a period of one year from the date of original retail purchase. This warranty is  
enforceable only by the original retail purchaser. To be protected by this warranty, the  
purchaser must complete and return the enclosed warranty card within 14 days of purchase.  
During the warranty period PreSonus shall, at its sole and absolute option, either repair or  
replace, free of charge, any product that proves to be defective on inspection by PreSonus or its  
authorized service representative. To obtain warranty service, the purchaser must first call or  
write PreSonus at the address and telephone number printed below to obtain a Return  
Authorization Number and instructions of where to return the unit for service. All inquiries must  
be accompanied by a description of the problem. All authorized returns must be sent to the  
PreSonus repair facility postage prepaid, insured and properly packaged. PreSonus reserves  
the right to update any unit returned for repair. PreSonus reserves the right to change or  
improve the design of the product at any time without prior notice. This warranty does not cover  
claims for damage due to abuse, neglect, alteration or attempted repair by unauthorized  
personnel, and is limited to failures arising during normal use that are due to defects in material  
or workmanship in the product. Any implied warranties, including implied warranties of  
merchantability and fitness for a particular purpose, are limited in duration to the length of this  
limited warranty. Some states do not allow limitations on how long an implied warranty lasts, so  
the above limitation may not apply to you. In no event will PreSonus be liable for incidental,  
consequential or other damages resulting from the breach of any express or implied warranty,  
including , among other things, damage to property, damage based on inconvenience or on loss  
of use of the product, and, to the extent permitted by law, damages for personal injury. Some  
states do not allow the exclusion of limitation of incidental or consequential damages, so the  
above limitation or exclusion may not apply to you. This warranty gives you specific legal rights,  
and you may also have other rights which vary form state to state. This warranty only applies to  
products sold and used in the United States of America. For warranty information in all other  
countries please refer to your local distributor.  
PreSonus Audio Electronics, Inc.  
7257 Florida Blvd.  
Baton Rouge, LA 70806  
(225) 216-7887  
© 2003, PreSonus Audio Electronics, Incorporated. All rights reserved.  
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TABLE OF CONTENTS  
1
Overview  
1.1 Introduction  
4
2
Comp16  
2.1 A Word About Compression  
2.2 Front/Back Panel Basic Layout  
2.3 Presets  
5
7
9
2.4 Application Guide  
14  
3
EQ3B  
3.1 Front/Back Panel Basic Layout  
3.2 Application Guide  
17  
19  
4
HP4  
4.1 Front/Back Panel Basic Layout  
4.2 Application Guide  
21  
23  
5
Technical Specifications  
5.1 COMP16 Specifications  
5.2 EQ3B Specifications  
5.3 HP4 Specifications  
24  
25  
26  
3
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1 INTRODUCTION  
1 . 1  
I N T R O D U C T I O N  
Thank you for purchasing this PreSonus Product. Your product  
was designed with you, the end user in mind.  
This device was built with state of the art components to deliver  
crystal clear audio for an infinite period of time. We believe this  
unit to be an exceptional sounding unit at an exceptional price. We  
hope you agree. Feel free to contact us at 1-800-750-0323  
anytime for any reason.  
suggestions.  
We value your comments and  
Please pay close attention to how you connect your PreSonus  
Product to your system. Improper grounding is the most common  
cause of noise problems in both live and studio applications. We  
suggest you look at the application guides which are part of this  
manual to insure optimum operation.  
Good luck and enjoy your PreSonus Product!  
4
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PRESONUS  
2 . 1  
A
W O R D A B O U T C O M P R E S S I O N  
Punch, apparent loudness, presence… just three of many terms  
used to describe the effects of compression/ limiting.  
Compression and limiting are forms of dynamic range (volume)  
control. Audio signals have very wide peak to average signal level  
ratios (sometimes referred to as dynamic range which is the  
difference between the loudest level and the softest level). The  
peak signal can cause overload in the audio recording or  
reproduction  
chain  
resulting  
in  
signal  
distortion.  
A
compressor/limiter is a type of amplifier in which gain is dependent  
on the signal level passing through it. You can set the maximum  
level a compressor/limiter allows to pass through, thereby causing  
automatic gain reduction above some predetermined signal level or  
threshold.  
Compression refers basically to the ability to reduce the output  
level of an audio signal by a fixed ratio relative to the input. It is  
useful for lowering the dynamic range of an instrument or vocal,  
making it easier to record without distorting the recorder. It also  
assists in the mixing process by reducing the amount of level  
changes needed for a particular instrument. Take, for example, a  
vocalist who moves around in front of the microphone while  
performing, thus making the output level vary up and down  
unnaturally. A compressor can be applied to the signal to help  
correct this recording problem by reducing the ‘louder’ passages  
enough to be compatible with the overall performance.  
How severely the compressor reduces the signal is determined by  
the compression ratio and compression threshold. A ratio of 2:1 or  
less is considered mild compression, reducing the output by two for  
signals greater than the compression threshold. Ratios above 10:1  
5
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are considered hard limiting. Limiting refers to the point at which  
the signal is restrained from going any louder at the output.  
The level of input signal at which the output is reduced is  
determined by the compression threshold. As the compression  
threshold is lowered, more and more of the input signal is  
compressed (assuming a nominal input signal level). Care must  
be taken not to ‘over compress’ a signal. Too much compression  
destroys the acoustical dynamic response of a performance.  
(‘Over compression’, however, is used by some engineers as an  
effect, and with killer results!)  
Compressor/limiters are commonly used for many audio  
applications. A kick drum can get lost in a wall of electric guitars.  
No matter how much level is increased, the kick drum stays ‘lost in  
the mud’. Add a touch of compression and tighten up that kick  
drum sound allowing it to ‘punch’ through without having to crank  
the level way up.  
A vocal performance usually has a wide dynamic range. Transients  
(the very loudest portion of the signal) can be far outside the  
average level of the vocal signal. It is extremely difficult to ride the  
level with a console fader. A compressor/limiter automatically  
controls gain without altering the subtleties of the performance.  
A solo guitar can seem to be masked by the rhythm guitars.  
Compression can make your ‘lead’ soar above the track without  
shoving the fader through the roof .  
Bass guitar can be difficult to record . A consistent level with good  
attack can be achieved with proper compression . Your bass  
doesn’t have to be washed out in the low end of the mix . Let the  
compressor/limiter give your bass the punch it needs to drive the  
bottom of the track .  
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PRESONUS  
2 . 2 C O M P 1 6 F R O N T P A N E L B A S I C L A Y O U T  
The front panel on the COMP16 is divided into three sections.  
These are:  
1. Presets:  
Sixteen selectable preset positions.  
The Presets for the COMP16 are controlled by this sixteen  
position rotary encoder.  
As the encoder is rotated,  
parameters are digitally switched, simultaneously controlling  
attack, release, ratio and threshold.  
2. Controls:  
The Input control adjusts the gain on the input amplifier.  
Note: The input control is always active.  
3. Output & Pushbuttons  
The Output control is used to set the desired output of the  
COMP16. It is sometimes referred to as ‘gain makeup’  
control. This term is derived from the fact that as the  
compressor lowers the output level during gain reduction,  
7
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PRESONUS  
the overall signal level is lowered, requiring the user to  
‘makeup’ the gain thereby restoring the original signal level.  
Output to Meter  
This button selects the function of the Output/Gain  
Reduction meter. Pushed out, the meter gives you the level  
of the gain reduction. Pushed in, the meter gives you the  
level of the signal after compression; the output level.  
Bypass  
If the BYPASS button is not pushed in, the COMP16 is  
processing the signal (compressing). When pushed in, the  
COMP16 is no longer compressing the signal, however the  
input gain setting remains active.  
2 . 2 C O M P 1 6 B A C K P A N E L L A Y O U T  
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Input  
The input jack accepts balanced/unbalanced tip-sleeve or  
tip-ring-sleeve connectors or XLR connectors. The input  
can handle up to +22dBu unbalanced levels.  
Output  
The output jack accepts (balanced/unbalanced) tip-sleeve,  
tip-ring-sleeve or XLR connectors. The output will deliver  
up to +22dBu in signal level unbalanced.  
2 . 3 P R E S E T S  
Vocal  
1
SOFT - Easy compression. A low ratio setting for ballads  
allowing a wider dynamic range. Good for ‘live’ use. This setting  
lets the vocal sit ‘in the track’.  
Threshold  
-8.2dB  
Ratio  
1.8:1  
Attack  
0.002mS  
Release  
38mS  
2
MEDIUM - More limiting than preset 1 for a narrower dynamic  
range. It moves the vocal more up front in the mix.  
Threshold  
Ratio  
Attack  
Release  
9
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-3.3dB  
2.8:1  
0.002mS  
38mS  
3
SCREAMER - For loud vocals. Fairly hard compression for a  
vocalist who is ‘on’ and ‘off’ the microphone a lot. It puts the voice  
‘in your face’.  
Threshold  
-1.1dB  
Ratio  
3.8:1  
Attack  
0.002mS  
Release  
38mS  
Perc.  
1
SNARE/KICK - Allows the first transient through and  
compresses the rest of the signal giving a hard snap up front with a  
longer release.  
Threshold  
-2.1dB  
Ratio  
3.5:1  
Attack  
78mS  
Release  
300mS  
2
L/R (Mono) OVERHEAD - A low ratio and threshold gives a ‘fat’  
contour to even out the sound from overhead drum mics. Low end  
is increased and the overall sound is more present and less  
ambient. More ‘boom’ less ‘room’.  
Threshold  
-13.7dB  
Ratio  
1.3:1  
Attack  
27mS  
Release  
128mS  
Fretted  
1
ELECTRIC BASS - A fast attack and slow release to tighten up  
the electric bass and give you control for more consistent level.  
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Threshold  
-4.4dB  
Ratio  
2.6:1  
Attack  
45.7mS  
Release  
189mS  
2
ACOUSTIC GUITAR - This setting accentuates the attack of  
the acoustic guitar and helps maintain an even signal level keeping  
the acoustic guitar from disappearing in the track.  
Threshold  
-6.3dB  
Ratio  
3.4:1  
Attack  
188mS  
Release  
400mS  
3
ELECTRIC GUITAR - A setting for ‘crunch’ electric rhythm  
guitar. A slow attack helps get the electric rhythm guitar up close  
and personal and gives punch to your crunch.  
Threshold  
Ratio  
2.4:1  
Attack  
26mS  
Release  
194mS  
0.1dB  
Keyboards  
1
PIANO - A special setting for an even level. Designed to help  
even up the top and bottom of an acoustic piano. Helps the left  
hand be heard with the right hand.  
Threshold  
-10.8dB  
Ratio  
1.9:1  
Attack  
108mS  
Release  
112mS  
2
SYNTH - Fast attack and release for synthesizer horn stabs and  
for bass lines played on a synthesizer.  
Threshold  
-11.9dB  
Ratio  
1.8:1  
Attack  
0.002mS  
Release  
85mS  
11  
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3
ORCHESTRAL - Use this setting for string ‘pads’ and other  
types of synthesized orchestra parts. It will decrease the overall  
dynamic range for easier placement in the mix.  
Threshold  
Ratio  
2.5:1  
Attack  
1.8mS  
Release  
50mS  
3.3dB  
Limit  
1
MONO LIMITER - Just as the name implies. A hard limiter  
setting (brick wall) ideal for controlling level to the 2 track mixdown  
deck or Mono output.  
Threshold  
Ratio  
7.1:1  
Attack  
0.001mS  
Release  
98mS  
5.5dB  
2
CONTOUR - A contoured setting for use on the Mono output to  
fatten up the mix.  
Threshold  
-13.4dB  
Ratio  
1.2:1  
Attack  
0.002mS  
Release  
182mS  
Effects  
1
SQUEEZE - Dynamic compression for solo work, especially  
electric guitar. It gives you that glassy ‘tele/strat’ sound. A true  
classic.  
Threshold  
-4.6dB  
Ratio  
2.4:1  
Attack  
7.2mS  
Release  
93mS  
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PRESONUS  
2
PUMP - Make the COMP16 ‘pump up the prime’. A setting for  
making the compressor pump in a desirable way. This effect is  
good for snare drum to increase the length of the transient by  
bringing the signal up after the initial spike. Very contemporary.  
Threshold  
Ratio  
1.9:1  
Attack  
1mS  
Release  
0.001mS  
0dB  
3 Tamer  
– Tame that funky low end. Designed to help control low  
end transients. This setting is especially useful for Bass Guitar.  
Threshold  
Ratio  
2:1  
Attack  
1mS  
Release  
50mS  
-8dB  
13  
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2 . 4 A P P L I C A T I O N G U I D E  
Q U I C K S T A R T  
1. Connect your COMP16 using one input jack (TS, TRS, or  
XLR) and one or more of the output jacks(TS, TRS, or  
XLR).  
2. Select your preset. (Refer to the preset descriptions above.  
Remember that the Ratio, Attack and Release knobs are  
only active in Manual mode.)  
3. Do not push the bypass button in.  
4. Turn the Input knob all the way to -20 (counter-clockwise).  
5. Set the Output knob on 0.  
6. Slowly turn the Input knob up (clockwise) until the Gain  
Reduction meters begin to move. Continue to rotate the  
Input knob until the Gain Reduction meters read between -5  
and -7.  
7. Adjust the Output knob to the desired output level.  
You should now have a very natural sounding compressed  
signal. Of course you should experiment with the settings to  
suit your taste.  
14  
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B A S I C C O N N E C T I O N S  
The COMP16 can be hooked to another processor, such as the  
EQ3B or TubePre in a live or studio environment. Please note that  
a microphone can not be plugged directly into the COMP16. The  
microphone has to be preamplified first. The TubePre would be a  
perfect preamp in front of the COMP16. We do recommend that  
whenever possible, balanced cables be used. Examples of  
balanced cables would be XLR or TRS (Tip – Ring – Sleeve). A  
balanced cable is preferred because it generally has a greater level  
of noise rejection. In other words it is less susceptible to outside  
interference.  
Use with a Console/Mixer Insert  
The COMP16 can be connected to an insert point on a console  
(mixer) by using a TRS Y-cable. This cable is Y-shaped, has a  
single TRS ¼” jack on one end and two ¼” TS (Tips-Sleeve) jacks  
on the other end. The single end will look like a stereo ¼”  
connector jack. This end of the cable plugs into the insert jack on  
the mixer channel. The other ends of the cable plug into the input  
and output of the EQ3B. If the EQ3B does not work immediately,  
you may want to try changing the jacks that are plugged into the  
input and output of the unit.  
15  
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PRESONUS  
B A S I C O P E R A T I N G P R O C E D U R E S  
Setting CompressionAmount  
Your COMP16 was designed with a fixed threshold mode of  
operation. This differs from other compressors in the fact that  
there is no threshold control. This offers the unique ability to  
immediately hear the sometimes subtle differences between  
presets which each have unique threshold settings. In setting the  
compression amount, always begin with the Input control all the  
way counter-clockwise (-20dB), and slowly increase the input until  
the Gain Reduction meters begin to register the compression  
activity. The more you crank up the Input the more compression  
your signal will experience. Always pay close attention to the best  
judge of your sound, your ear. You should also frequently remove  
the compression from the signal using the Bypass button to listen  
to the changes in your sound. In modern recording practice, it is  
customary to adjust the Output control such that the Input and  
Output level are of equal amounts according to the Output/Gain  
Reduction meter. This gives you an equal level output so that you  
can switch processing in and out to compare difference.  
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3 . 1  
E Q 3 B F R O N T P A N E L B A S I C L A Y O U T  
The front panel on the EQ3B is divided into three sections. These  
are the three bands of equalization:  
There is a frequency selection knob (Hz), gain/gain reduction(dB)  
(amplitude) knob and a Q control. The frequency selection knob  
(Hz) allows the user to choose the center frequency of that band of  
the EQ. The Q knob allows the user to alter the width of the  
frequency being adjusted. Q is defined as the ratio of the center  
frequency divided by bandwidth. An example of how the width  
looks can be seen below in Figure 1. An example of use of high Q  
would be a “Notch Filter”. A Notch Filter is used to remove a small  
frequency range that may be annoying or unwanted. An example  
of wide width or low Q would be a bell. An example of using a bell  
would be a low end roll off. Let’s say that a person is performing  
live and the low end is too overpowering. The engineer or sound  
person could set the Q at 0.1, frequency at 80Hz and the gain  
reduction to -12. This would enable that person to lower a wide  
frequency range fairly quickly. The Gain/Gain Reduction knob (dB)  
allows the user to raise or lower the amplitude (peak) of the chosen  
frequency.  
17  
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Figure1  
Bypass  
If the BYPASS button is not pushed in, the EQ3B is  
processing the signal (equalizing). Pushed in, the EQ3B is  
no longer equalizing the signal.  
80Hz  
The 80Hz button is a low end roll off filter. When pushed in,  
the 80Hz button causes all frequencies below 80Hz to be  
attenuated (dropped) by 12dB. This filter can be handy in  
several live and studio applications. One instance would be  
for use on a vocal. The 80Hz filter would help reduce the  
“boominess” of a deep vocal.  
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3 . 1 B A C K P A N E L B A S I C L A Y O U T  
Input  
The input jack accepts balanced/unbalanced tip-sleeve or  
tip-ring-sleeve connectors or XLR connectors. The input  
can handle up to +24dBu unbalanced levels.  
Output  
The output jack accepts (balanced/unbalanced) tip-sleeve,  
tip-ring-sleeve or XLR connectors. The output will deliver  
up to +24dBu in signal level unbalanced.  
3 . 2 A P P L I C A T I O N G U I D E  
The EQ3B can be hooked to another processor, such as the  
COMP16 or TubePre in a live or studio environment. We do  
recommend that whenever possible, balanced cables be used.  
Examples of balanced cables would be XLR or TRS (Tip – Ring –  
Sleeve). A balanced cable is preferred because it generally has a  
greater level of noise rejection. In other words it is less susceptible  
to outside interference.  
Use with a Console/Mixer Insert  
19  
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PRESONUS  
The EQ3B can be connected to an insert point on a console  
(mixer) by using a TRS Y-cable. This cable is Y-shaped, has a  
single TRS ¼” jack on one end and two ¼” TS (Tips-Sleeve) jacks  
on the other end. The single end will look like a stereo ¼”  
connector jack. This end of the cable plugs into the insert jack on  
the mixer channel. The other ends of the cable plug into the input  
and output of the EQ3B. If the EQ3B does not work immediately,  
you may want to try changing the jacks that are plugged into the  
input and output of the unit.  
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4 . 1 H P 4 F R O N T P A N E L B A S I C L A Y O U T  
The front panel on the HP4 is divided into three sections. These  
are the potentiometers (knobs), headphone jacks, and buttons:  
Headphone Volume  
The HP4 has the potential to be very loud (it goes to 12).  
Please be careful when you first start passing sound through  
the unit. It is generally a good idea to start with the volume set  
at 1 and then bring the volume up.  
Monitor Level  
The monitor level knob corresponds to the output volume of  
the output on the back of the HP4. The level can be muted by  
pressing the Monitor Mute button.  
Mono  
When the Mono button is pushed in, each input will be  
summed together on each output. For example, if you plug  
a CD player into the left input and press the mono button,  
the signal from the left input will be present in the left and  
right headphone and master output. When the Mono button  
is not pushed in, the left output will have the left input signal  
and vice-versa.  
21  
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Monitor Mute  
The monitor mute button is handy when you are only using  
the headphone outputs and don’t want to use the Master  
Outputs. Also, it enables the user to hit one button rather  
than turn down the volume knob for the Monitor Level. A  
good use of this button would be for recording in front of a  
computer or DAW. When a mic is on, the Monitor Mute  
button would be pushed in to prevent feedback. When the  
recording/performance is over, the mic could be muted and  
then the Monitor Mute button would be disengaged.  
4 . 1 B A C K P A N E L B A S I C L A Y O U T  
Input  
The input jack accepts balanced/unbalanced tip-sleeve or  
tip-ring-sleeve connectors. The input can handle up to  
+24dBu unbalanced levels.  
Output  
The output jack accepts (balanced/unbalanced) tip-sleeve  
or tip-ring-sleeve. The output will deliver up to +24dBu in  
signal level unbalanced. These outputs are designed to be  
connected to the power amp of your studio speakers, to the  
inputs of self amplified speakers, or to another HP4.  
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4 . 2 A P P L I C A T I O N G U I D E  
The HP4 can be hooked to another processor, such as the  
COMP16 or TubePre in a live or studio environment. We do  
recommend that whenever possible, balanced cables be used. An  
example of a balanced cable would be a TRS (Tip – Ring –  
Sleeve). A balanced cable is preferred because it generally has a  
greater level of noise rejection. In other words it is less susceptible  
to outside interference.  
Use with a Console  
The HP4 can be connected to the headphone output of a  
console/mixer to multiply the headphone outputs. Care should be  
taken that the headphone output level of the console/mixer is not  
set to high. Setting the output level to the HP4 too loud, could  
cause the unit to distort. The monitor outputs are designed to be  
connected to the power amp of your studio speakers, to the inputs  
of self amplified speakers, or to another HP4.  
23  
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5 . 1  
C O M P 1 6 S P E C I F I C A T I O N S  
Number of Channels......................................................1  
Dynamic Range .................................................. >115dB  
Signal to Noise Ratio............................................ >95dB  
Headroom........................................................... +22dBu  
Frequency Response ..............................10Hz to 50kHz  
Compression Ratio.........................................1:1 to 20:1  
Compressor Attack Time....................0.01mS to 100mS  
Compressor Release Time....................10mS to 500mS  
XLR Input Impedance...................................... 10kOhms  
TRS Input Impedance...................................... 10kOhms  
XLR Output Impedance..................................... 51Ohms  
TRS Output Impedance..................................... 51Ohms  
THD + Noise....................................................... <0.05%  
Input Gain ...............................................-20dB to +20dB  
Output Gain ............................................-20dB to +20dB  
Compressor Metering ..... Output Level, Gain Reduction  
Internal Operating Level ...............................0dBu = 0dB  
Input Connectors ....................¼”, Tip Ring Sleeve, XLR  
Output Connectors .................¼”, Tip Ring Sleeve, XLR  
Power Supply............................. External, Linear Supply  
Power Requirements................... 16VAC,1000 mA 20W  
Weight...................................................................... 4lbs.  
Size........................................................ 5.5”X5.5”X1.75”  
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PRESONUS  
5 . 2 E Q 3 B S P E C I F I C A T I O N S  
Number of Channels......................................................1  
Dynamic Range .................................................. >115dB  
Signal to Noise Ratio............................................ >95dB  
Headroom........................................................... +22dBu  
Frequency Response ..............................10Hz to 50kHz  
XLR Input Impedance...................................... 10kOhms  
TRS Input Impedance...................................... 10kOhms  
XLR Output Impedance.................................... 51 Ohms  
TRS Output Impedance.................................... 51 Ohms  
THD + Noise..................................................... <0.002%  
Internal Operating Level .............................+0dBu = 0dB  
Input Connectors ..................1/4”, Tip Ring Sleeve, XLR  
Output Connectors ...............1/4”, Tip Ring Sleeve, XLR  
Power Supply............................. External, Linear Supply  
Power Requirements............16VAC, 1000mA, 20 Watts  
Weight..................................................................... 4 lbs.  
Size........................................................ 5.5”X5.5”X1.75”  
25  
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PRESONUS  
5 . 3 H P 4 S P E C I F I C A T I O N S  
Number of Channels.........................................1 in 5 out  
Dynamic Range .................................................. >115dB  
Signal to Noise Ratio............................................ >95dB  
Headroom........................................................... +22dBu  
Frequency Response ..............................10Hz to 50kHz  
Input Impedance.............................................. 10kOhms  
Master Output Impedance................................ 51 Ohms  
THD + Noise..................................................... <0.002%  
Internal Operating Level .............................+0dBu = 0dB  
Headphone Output Power.................................. 150mW  
Input Connectors ...........................1/4”, Tip Ring Sleeve  
Master Output Connectors ............1/4”, Tip Ring Sleeve  
Power Supply............................. External, Linear Supply  
Power Requirements............16VAC, 1000mA, 20 Watts  
Weight..................................................................... 4 lbs.  
Size........................................................ 5.5”X5.5”X1.75”  
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