Nady Systems dig comp 16 - Manual (Page 7)

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This technique helps avoid the common "pumping" effect which often arises when
applying a dynamic process to a sound signal.
Once the input signal is split into 2 "sub-bands", the DigiComp 16 operates a first limiting
process on the low frequencies band, and then, once the full band, is restored, it
applies a powerful stereo dynamic process on the two "recombined" channels.
This type of dynamic process is very useful for the dynamic control of complex audio —
a CD, an orchestra, etc.
Stereo 2 Bands Compressor Presets
1) AGC pure: This preset is a simple automatic level control. Its speed varies with the
different "variation" control positions. From a timbre point of view, it's a rather neutral
process, and it doesn't alter the general balance of the original signal. It simply keeps
the level in proximity of a fixed level, correcting the source variations. Note that variation
1 disables the AGC — it does so even in the compressor presets. This variation can be
considered a sort of bypass.
2) Acoustic: The general impression this preset gives is of definition and power. The
timbre is lively and brilliant, ideal for small ensemble music and keeping live soft
passages. Frequency response is slightly rolled off in the low end.
3) Master: Master is very neutral and is usable as a high performance AGC. It can be
put before power amps and recorders in order to optimize their dynamic range. Timbre is
very similar to original signals, and so the unique appreciable differences are in the
dynamic range corrections. Variations 2 through 16 activate even the AGC to enable
variable compressor action.
4) Clean: This is a high definition preset, providing great brilliance and dynamic
impression. Nevertheless it is never fatiguing and "pushes" the sound without
unbalancing it. Highs and the punch range are emphasized and lows are not overly
attenuated. It is great for underlining details in female vocals.
5) Dance: With this program, medium range and mid-low range are emphasized, while
high frequencies are slightly attenuated. This helps control dance music’s intrinsic
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(10)
(8)
(9) (12) (13) (11)
Rear Panel Connections
(8) Power Jack
This is a plug for connecting the Nady 9VAC power supply adapter (supplied).
The DigiComp 16 comes with a power adapter suitable for the voltage of the country it is
shipped to (either 110 or 220V, 50 or 60Hz).
(Note: The correct power supply must be used AT ALL TIMES — any other power supply
might create a fire risk and/or permanently damage your unit. This damage would NOT
be covered under your warranty.)
(9) Bypass Jack
This is a 1/4” phone jack for connecting to an effects bypass footswitch. You can bypass
the effects in two ways, thus allowing the direct signal to pass through the DigiComp 16
unchanged:
• By pressing the PROCESS BYPASS SWITCH (3), or by connecting a footswitch to this
jack and pressing the footswitch. Each time this footswitch is pressed, the Bypass mode
will turn on and off alternately.
(10) & (11) Output (Left & Right) Jacks
These 1/4” unbalanced phone jacks connect to devices such as the effects returns,
channel inputs or inserts on a mixing console, or power amplifier inputs. For mono
applications, use the LEFT (10) output.
(12) & (13) Input (Left/Mono & Right) Jacks
These 1/4” unbalanced phone jacks connect to sources such as the effects sends of
mixing consoles. They may be used with nominal input levels from -8/9dBV. The
Left/Mono input jack is normal to the Right jack. This means that when nothing is
plugged into the RIght input jack, the signal present at the Left/Mono input is routed to
the Right as well.
DigiComp16booklet 1/23/03 10:33 AM Page 14