Marani CLP-160 User manual
19"
482mm
DIGITAL USB
Index
index..................................................... ..................Page 1
Safety Instructions................................... ................Page 2
Controls and Parameters.......................... ................Page 3
RMS Compressor Notes............................ ............... Page 4
Sub Harmonic Synthesizer Notes.............. ................ Page 5
Input and Output Level Considerations.... .................. Page 6-8
RMS Compressor...................................... ...............Page 9-14
Sub Harmonic Synthesizer........................ ................Page 15-17
1
IMPORTANT SAFETY INSTRUCTIONS
Ventilation
1
Overload
5
Heat sources
3
Power cord proctecion
4
2
Maintenance
8
7Humidity
Cleaning
Note: inordertoensuresafety,pleasereadtheseinstructionscarefully
Attention:To reduce the riskoffireorelectricshock,donotexpose this apparatus
torainormoisture!
All safety and operating instructions should be read before the
product is operated.
6
Objects or liquid entry
inside the unit
Refer all servicing to
qualified service
personnel. To
prevent the risk of
shock, do not
attempt to service
this equipment
yourself because
opening or removing
covers may expose
you to
dangerous voltage
or other hazards.
The unit should far
away form water.
Be careful that no
objects fall or liquid is
spilled inside the unit
thr o u g h venti l a t i on
openings.
Do not block any
ventilation openings.
Clean only with dry
cloth.
Do not install near
any heat sources
such as radiators,
stoves, or other
apparatus that
produce heat.
Protect the power
cord from being
walked on or pinched
particularly at plugs.
Power plug should
not overload.
2
1
CLP-160
RMS StereoCompressor
CONTROLS
Pot Thr/Var Adjust Threshold and Parameter Value
Key Atk/Rel Select Parameter Selection 1
Key atk/Rel Confirm Parameter Selection 2
Led Clip Input/Process Overflow
Enc Ratio/Knee Compressor's Ratio and Knee selection
Button Process On/Off RMS Compressor Active/Bypass
Pot Input Level Analog Input Gain Left/Right
Pot Output Level Analog Output Volume Left/Right
TECHNICAL DATA
Inputs Balanced 2 TRS/2 XLR
Outputs Balanced 2 TRS/2 XLR
Input Max Level +15dBu
Output Max Level +9.8dBu
THD+N <0.01% @ -6dBFS (Bypass)
S/N Ratio >100dBu (Processes in Bypass)
Frequency Response 20Hz – 20kHz +/-0.5dB
A/D and D/A Resolution 24bit
Process Resolution 24x48 bit
Processes RMS Stereo Compressor
Power Supply 110V/220V (Switchable)
3
The CLP160 is a Stereo RMS Compressor with the addition of a Sub Harmonic
Synthesizer. With reference to the following RMS Compression process
representation
The CLP160 is implementing a REAL RMS Compressor, so compressing at the
same threshold a pure sinusoidal signal as a squared wave.
Particularly, the RMS Compressor is a Compression process applied with fast
slow Attack and Release times to the INPUT signal of a Unit, in order to maintain
the amplitude of the OUTPUT signal at a defined level, when input level is
exceeding a defined intervention Threshold.
The Compressor implemented in the CLP160 is acting on the evaluation of an
input signal which is an averaged one on a 50ms time frame, and representing
actually the RMS value of the input signal itself, so to make more “Musical” the
Compressors action.
The RMS Compressor, it is so maintaining constant the output energy and not the
Output peak, so to have for the different inputs, independently from their
harmonic content, a constant output RMS level.
4
More, for the CLP160 Compressor is also available a Ratio and a Hard/Soft Knee
parameters.
The Ratio parameter is allowing to get a compressed output maintaining a
constant dB ratio with the input.
This feature is got in the CLP160 with a precise Look Up Table Log Computation
process, allowing int the ratio maintenance a precision of 0.1dBu.
The Hard and Soft knee feature is allowing the user to select between a sudden
compression intervention when the input signal it is just above the Threshold
(Hard Knee) or a smoother one starting the compression smoothly before the
Threshold.,
In addition to the RMS Compression process, in the CLP160 is also available a
powerful Sub Harmonic synthesizer.
The Sub Harmonic Synthesizer is working generating sub Harmonics on the base
on the Harmonic content of the original signal.
Particularly, the amplitude distribution of the generated Sub Harmonics is
following the shape of a band pass filter set on the low part of the band.
The peak of this “band pass” filter, is centered on 65Hz.
This means that the Sub Harmonics added to the original sound, and being at
one octave below the harmonics detected in the original signal itself, will bring
a “deep” and very low extra body to the original sound.
The CLP160 has a bypass control in the analog domain.
5
Input and Output Level Considerations
The Input and Output levels of the CLP160 can be adjusted by a couple of
Analog Potentiometers.
Due to the fact that the potentiometers are operating in the analog domain,
before the A/D converter ( Input Level) and after the D/A converter (Output
Level) there is not an absolute and fixed relation between the Input and Output
Levels and the levels in front of the A/D and after the D/A converters.
Need therefore to provide the user some “Absolute” reference in terms on
Input level and Output level, in order to clarify first what are the Max Absolute
Input level, which cannot be exceeded without getting an Op-Amp clip, no
longer recoverable by any Digital operation.
In order to help the user in understanding clearly the following paragraphs,
need to refer to the “Input Level” and “Output Level” pictures, replicating the
Input and Output Potentiometers' grids with a more precise detail:
Fig A Fig B
The figures A/B are showing in details the possible positions of the
potentiometers controlling the Analog Input and Output Level.
Referring then to the above precise divisions of the available range between the
MIN and MAX position of the potentiometers, the Max Analog Input/Output
levels can be understood, so as the can be found the proper setting for the best
use of the RMS Compressor.
6
In order to verify the Input/Output Max Levels of the CLP160, need first to make
sure that NO RMS compression or Sub Harmonic Synthesis are active.
In order to do that need to proceed with the following steps (the details about
the RMS compressor and Sub Harmonic Synthesizer use are in the dedicated
and following section of the manual):
Sub Harmonic Synthesizer NOT Active:
1. Press the “Atk/Re/ Select” button so to turn ON the related green Led.
2. Make sure the “Atk/Re/ Confirm” is OFF
3. Move to the MIN position the THR/VAR potentiometer
4. press again the “Atk/Re/ Select” button so to turn OFF the related green
Led.
RMS Compressor NOT Active:
1. Make sure the “Atk/Re/ Select” and “Atk/Re/ Confirm” are both OFF
2. Move to the MIN position the THR/VAR potentiometer
Max Analog Input: in order to understand what can be the maximum Analog
Input level to the unit, which is the one before the clipping of the Op-Amps in
front of the A/D converters, need to make sure that no Digital clip (DSP process)
is occurring.
The output will never clip unless the clip is coming from the digital process.
This means that if the D/A output isn't clipped, then no clipping will come from
the Analog Op-Amp output section.
From this point of view, any position of the Output potentiometer for
evaluating the Max Input level, can be set.
Let's consider to set the output potentiometer to the position 5 of the grid in
Fig B.
Now, to define what is the Max Analog Input level, need to set the Input Level
potentiometer to a position granting enough attenuation of the signal before
the A/D, so to make sure no clip is occurring on the A/D side.
Let's set the Input potentiometer to the position 3 of the grid of Fig. A.
Done this, we can increase progressively the Input signal level until the output
will start to clip.
In this way, can be found that the Max Input level, before to get the Input Op
amps clipping is +15dBu.
7
Max Analog Output: once set the Max Input Level to +15dBu, in order to
identify the Maximum Output Level, need to move the Input Level
Potentiometer from the position 3, up to the position that is clipping the A/D
converter.
With +15dBu Input, the position of the Input Level Potentiometer at the limit of
the Input Clipping (notified when occurred by the RED CLIP LED ), is the position
6 of the Input Level grid of Fig A.
Once set, then, the Input Level Potentiometer to the position 6, in order to find
out the Max Output Level achievable with the CLP160, need to set the Output
Level Potentiometer to the position Max
The Max output Level that can be found is +9.8dBu, that is also indicated by the
Led Meters of the Front Panel, showing in fact the CLP160 OUTPUT LEVEL.
CLP160 Signal to Noise Ratio (S/N): from the condition got for the Max Analog
Output verification, can be go the S/N of the CLP160.
If, with the Max Output Level of +9.8dBu, the Input Signal Is removed,
measuring the output can be seen that the residual Ground Floor Noise drops to
-90.3dBu, which let us say that the S/N=(Max Output) – (GND Floor Noise) =
9.8dBu - (-90.3dBu) = 100dBu
Analog Bypass: de-pressing the “On/Off Process” button, the Analog Bypass
can be activated.
In this condition the CLP160 is bypassing the Digital section and connecting the
Analog Input to the Analog Output.
Here the Max Output is reaching the +11.4dBu with a GND Floor Noise of -
91.6dBu, bringing the S/N of the unit to 103dBu
Set Input and Output Potentiometers for a 0dBu Input/Output path: in order
to evaluate the performances of the CLP160 RMS Compressor, we'll set a 0dBu
path, and to that one we'll refer the all measurement we'll show for making
understanding the Unit's way of working.
What anyway will be shown, will remain valid for any input level value there
where with the Input Level Potentiometer, the signal to the A/D will be adjusted
so to be close to the Clipping (notified by the RED CLIP Led).
In order to be on a 0dBu Input/Output path, when the Unit is in “Process
Bypass”, need from the previous condition to set the external Analog Input
Signal to 0dBu.
In order to get in Output also 0dBu, being at the maximum A/D Input level, need
to set the Input Level Potentiometer to 7 of the Grid of Fig A and the Output
Level Potentiometer to the position 7 of the Grid of Fig B.
The Output Led Meter will indicate 0dBu.
8
RMS Compressor
The CLP160 is performing a powerful RMS Stereo Compressor.
In order to make it working properly, need to be in a condition similar to the one
described before for the 0dBu path.
The following data are referred to a measurement condition based on the 0dBu
setting, which means:
1. Testing Input Signal: Sinusoid set to 0dBu
2. Input Level Potentiometer set to 7 with reference to the Fig A
3. Output Level Potentiometer set to 7 with reference to the Fig B
Any different condition on the Input Signal, can bring to the same output results
if the Input Level Potentiometer will be Adjusted in order to be close to the
Input Clipping condition, which means that if the Input Signal will be
lower/higher than 0dBu, the potentiometer will have to adjust the input to the
A/D converter so to go back to a “0dBu” condition as the one used as reference.
RMS Compressor available Parameters: for the RMS Compressor, the classic
parameters can be set in order to implement the compression process shown in
the following diagram:
9
Specifically, the Ratio and the Threshold are directly accessible through the
RATIO/KNEE Encoder and THR/VAR potentiometer, selecting so immediately
the desired values.
The Attack and Release times, can be accessed and set using the “Atk/Rel
Select” and “Atk/Re/ Confirm” buttons.
RATIO/KNEE: the RATIO/KNEE Encoder is allowing to set the RATIO value of the
RMS Compressor and the KNEE type.
With reference to the Fig D picture
The following table describes the relation between the Encoder position and
the RMS Compression Ratio and Knee type.
HARD (White) Area: the Knee of the RMS Compressor is HARD type
SOFT (Black) Area: the Knee of the RMS Compressor is SOFT type
For both Knee types, the positions from 1 to 8 of the Encoder are giving the
ratios here below:
1. Ratio = 2:1 ---> Omega = 22.500 Deg
2. Ratio = 3:1 ---> Omega = 15.000 Deg
3. Ratio = 4:1 ---> Omega = 11.250 Deg
4. Ratio = 5:1 ---> Omega = 9.000 Deg
5. Ratio = 6:1 ---> Omega = 7.500 Deg
6. Ratio = 7:1 ---> Omega = 6.428 Deg
7. Ratio = 8:1 ---> Omega = 5.625 Deg
8. Ratio = 32:1 ---> Omega = 1.406 Deg
1 0
THR/VAR: the THR/VAR potentiometer is used both for setting the RMS
Compressor Threshold, so as for setting the Atk/Rel times.
With reference to the following detailed Grid picture
And to the following combination of the “Atk/Rel Select” and Atk/Rel Confirm”
buttons:
TAB 1
Where the Led can be turned On or Off with a simple pressure or made
“Blinking” or “Un-blinking” maintaining them pressed for at least 3 seconds.
The RMS Compressor Threshold and the Atk/Rel Times can be set on the base of
the following tables.
Atk/Rel Select LedAtk/Rel Confirm Led Pot's related Parameter
OFF OFF THRESHOLD
OFF
OFF
Blinking
Blinking RELEASE TIME
ATTACK TIME
1 1
THRESHOLD: The Threshold of the RMS compressor there where we're referring
to a 0dBu path, providing a 0dBu Output level as Maximum Output Level, the
Table relating the Threshold and the Output Level is
TAB 2
THR/VAR Pot Threshold set at
MAX 0dBu (Bypass)
Grid 9
Grid 8
Grid 7
Grid 6
Grid 5
Grid 4
Grid 3
Grid 2
Grid 1
MIN
-0.8dBu
-2.5dBu
-4.5dBu
-6.5dBu
-8.8dBu
-10.8dBu
-12.6dBu
-15.2dBu
-16.8dBu
-17dBu
1 2
ATTACK TIME: The Attack Time of the RMS compressor is related to the THS/VAR
potentiometer Grid position, on the base of the following Table and considering
the Threshold set at -17dBu and the Input level going from OFF to 0dBu
TAB 3
THR/VAR Pot Threshold set at
MAX 200ms
Grid 9
Grid 8
Grid 7
Grid 6
Grid 5
Grid 4
Grid 3
Grid 2
Grid 1
MIN
150ms
110ms
90ms
70ms
50ms
40ms
30ms
20ms
15ms
10ms
1 3
RELEASE TIME: The Release Time of the RMS compressor is related to the
THS/VAR potentiometer Grid position, on the base of the following Table and
considering the Threshold set at -17dBu and the Input level going from 0dBu to -
20dBu
TAB 4
THR/VAR Pot Threshold set at
MAX 1.7sec
Grid 9
Grid 8
Grid 7
Grid 6
Grid 5
Grid 4
Grid 3
Grid 2
Grid 1
MIN
320ms
180ms
130ms
100ms
68ms
50ms
32ms
28ms
1.5sec
1.2sec
1 4
SUB HARMONIC SYNTHESIZER
This particular process, already introduced in the first part of the manual, isn't
actually related to the RMS compression one.
The Sub Harmonic Synthesizer is intended to be an “extra” process available to
the user there where the RMS Compressor is chosen for processing a source
addressed to a “background” use as in clubs or similar.
There, the possibility to have synthesized basses in order to extend the band
also when the musical program is poor of harmonics on the low frequencies,
can help in improving the quality of the background music and to gain a
"heavier" or more vibrant sound.
The Sub Harmonic Synthesizer is a process synthesizing the first lower harmonic
of the frequencies ranging from 40Hz to 500Hz, detected in the original signal.
This means that there where in the original signal are detected frequencies
from 40Hz to 500Hz, sub harmonics from 20Hz to 250Hz are generated.
Fig. F
As can be seen in the Fig F, however, the synthesized sub harmonics are not
generated in the low harmonics' band with the same amplitude, but with a Peak
on 65Hz and then with decreasing amplitude going up from 65Hz to 250Hz and
down to 20Hz.
1 5
This is due to the fact that extend the same amplitude to the all sub harmonics
generated, would bring to a “booming” and “dark” result, there where having a
Peak on the 65Hz, will leave the max intensity of the synthesized sub
harmonics, in correspondence of the original fundamentals, ranging around
130Hz, where typically fall the octave used by the harmonizing instruments as
the Bass or Kick Drum, creating there a bigger presence and giving the music
that much sought after "punch".
The Sub Harmonic Synthesizer is working on the base of a single control used
for deciding the amount of Sub Harmonics in terms of Amplitude Gain.
To access the Sub Harmonic Synthesizer control, need to press the Atk/Rel
Select Button so to turn ON the related Led, and to make sure the Atk/Rel
Confirm Led is OFF.
TAB 5
Referring to the Fig E, here following the table showing the relation between
the THR/VAR potentiometer position on the Grid and the Sub Harmonic
Synthesizer Amount in terms of Gain Amplitude at 65Hz
Atk/Rel Select Led Atk/Rel Confirm Led Pot's related Parameter
ON OFF SUB HARMONIC
1 6
THR/VAR Pot Gain at 65Hz
MAX +18.4dBu
Grid 9
Grid 8
Grid 7
Grid 6
Grid 5
Grid 4
Grid 3
Grid 2
Grid 1
MIN
+18.4dBu
+17.5dBu
+16dBu
+14.5dBu
+12.5dBu
+11dBu
+7.5dBu
+1dBu
+0.0dBu(Bypass)
+0.0dBu(Bypass)
Note that when the Sub Harmonic Synthesizer is active need to tune properly
the Input level so to take in account the added Sub Harmonic Process'
Amplitude on the low frequencies, and notified by the Clip Led blinking.
IMPORTANT NOTE: Once the CLP160 is configured by the user in all its
parameters, when the unit will be turned OFF, the all values of the parameters
will be retained and recalled when the unit will be turned ON again.
The parameters' set value will not change until, once assigned the THR/VAR
potentiometer to one of them, through the “Stk/Rel Select” and “Atk/Rel
Confirm” proper combination, the THR/VAR potentiometer will be moved
again, so forcing the unit to update the current parameter's value with the new
one corresponding to the new THR/VAR potentiometer's position.
1 7
TAB 6
China Office:
4/5Floor, Building B，No.885，Shenzhou
Road,Science City, Guangzhou, China
Tel:+86(20)62845258/59/60
Fax:+86(20)62845256 Http:www.marani.com.cn
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