Ashly 424c1 424C Manual Rev 2 User 1b550f8d 67d2 4e25 8b57 26b6559e025e

User Manual: ashly 424c1 Ashly Stereo System 4.24C User Guide |

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ASHLY AUDIO INC.

847 Holt Road Webster, NY 14580-9103 Phone: (585) 872-0010

Toll-Free: (800) 828-6308 Fax: (585) 872-0739

www.ashly.com

4.24C

24 Bit Digital Crossover

and System Processor

Operating Manual

Di

g

ital Audio Products

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

2

Table Of Contents

1 INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1.1 Audio Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1.2 User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

2 UNPACKING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

3 AC POWER REQUIREMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

4 FRONT PANEL CONTROL FEATURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

4.1 Function Keys and Data Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

4.2 Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

4.3 Input Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

4.4 Output Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

4.5 LED Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

4.6 Audio Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

4.6a Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

4.6b EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

4.6c Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

4.6d Crossover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

4.6e Limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

4.7 Other Functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

4.7a Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

4.7b Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

4.7c Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

4.7d Mute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

4.7e Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

4.7f Factory Reset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5 INTERCONNECT FEATURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5.1 Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5.2 MIDI Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

5.3 RS-232 Data Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

3

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

6 PROTEA SYSTEM SOFTWARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

6.1 How to Get Protea System Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

6.2 Installing Protea System Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

6.3 Connecting the 4.24C to a Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

7 TROUBLESHOOTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

7.1 Audio Troubleshooting Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

7.2 RS-232/MIDI Troubleshooting Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

8 SPECIFICATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

9 DIMENSIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

10 WARRANTY INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

11 INSTALLATION RECORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

12 BLOCK DIAGRAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

WARNING:

THIS APPARATUS MUST BE EARTHED

The exclamation point within an eqilateral

triangle is intended to alert the user to the

presence of important operating and

maintenance instructions in the literature

accompanying the device.

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. TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT RE-

MOVE COVER. NO USER SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK,

DO NOT EXPOSE THIS APPlIANCE TO RAIN OR MOISTURE.

TO REDUCE THE RISK OF FIRE, REPLACE ONLY WITH

SAME TYPE FUSE. REFER REPLACEMENT TO QUALIFIED

SERVICE PERSONNEL.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

4

1. INTRODUCTION

Thank you for your purchase of this Ashly Protea 4.24C Digital Crossover/System Processor.

The Protea SYSTEM II series builds on the tradition of quality and value which has earned Ashly its

place as a market leader in crossovers, equalization, and signal processing.

Your new 4.24C is a four input/eight output digital signal processor capable of precise control

of a broad range of audio functions. The front panel interface allows quick access to all control

parameters by offering dedicated function buttons, eliminating the need for hidden sub-menus. For

even faster set-ups and stronger visualization of Input/Output routing, EQ, and Filter curves, an RS-

232 PC port is provided for use with Windows™ Protea System Software. Full control is also avail-

able via MIDI input and output jacks.

1.1 AUDIO FEATURES

The Protea 4.24C utilizes state of the art DSP technologies, beginning with 24 bit, 48kHz delta-sigma A/D

converters with 128x oversampling. Digital processing includes Gain, Polarity Invert, Parametric EQ, Shelving Fil-

ters, Time Delay, Crossover Functions, Compression, Limiting, and Signal Routing, all taking place in twin 120MHz

Motorola DSP56362 high performance DSP processors. D/A conversion uses 24 bit delta-sigma converters with 128x

oversampling. All inputs and outputs are precision balanced and RF protected using XLR connectors.

1.2 USER INTERFACE

Front Panel Interface: A backlit 2 x 20 character LCD displays channel and function settings. Dedicated

buttons provide access to all audio functions and system tools. The display indicates the current preset number, then

subsequently shows the selected input or output and its active control parameters. Five segment LED arrays on each

input and output provide audio level information and mute status.

Protea System Software: The computer interface uses Ashly PROTEA SYSTEM SOFTWARE for Windows,

which allows complete PC control of the 4.24C through an RS-232 serial port. Protea system software is supplied with

each unit, or can be downloaded at no cost from the Ashly web site. Advantages of using the software include greater

preset capacity, and a very intuitive visual representation of the audio routing and control process.

2. UNPACKING

As a part of our system of quality control, every Ashly 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 minimize the possibility of transportation damage

should the unit again require packing and shipping. In the event that damage has occurred, immediately notify your

dealer so that a written claim to cover the damages can be initiated. The right to any claim against a public carrier can

be forfeited if the carrier is not notified promptly and if the shipping carton and packing materials are not available for

inspection by the carrier. Save all packing materials until the claim has been settled.

3. AC POWER REQUIREMENTS

Note: The AC power switch for model 4.24C is on the back panel. The Protea 4.24C uses a universal input

power supply which will accept any line voltage in the range of 80VAC to 260VAC, 50-60Hz, and is exceptionally

resistant to voltage dips, or "brown outs". A standard IEC-320 grounded AC inlet is provided on the rear panel to

accept the detachable power cord. Never remove the AC earth ground connection to the 4.24C. In the event of fuse

failure, refer the product to a qualified service technician for fuse replacement, replacing only with the same type and

rating fuse.

5

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

4. FRONT PANEL CONTROL FEATURES

4.1 Function Keys and Data Wheel

To the right of the LCD display

are two unlabeled function keys and a

rotary data wheel. All audio and sys-

tem parameters are edited using these

three controls. Each of the two lines of

text on the LCD display correspond to

a dedicated function key, so that vari-

ous tasks on both lines may be selected

using their respective keys. The selected task is highlighted by a flashing underscore beneath the word or number, and

the parameter is then adjusted up or down with the data wheel. The Esc key will exit any activity and return to the top

level showing the preset number and name.

4.2 Presets

The 4.24C is organized into 30 programmable presets, each completely defining the configuration of all four

inputs and eight outputs along with their respective audio components. There are ten repeating preset configurations

pre-loaded into the 4.24C which are simply starting points for common applications, and all can be modified, re-

named, and saved to suit the end user. Please Note: In addition to the 30 preset numbers, a constantly refreshed

Working Preset is used to take a "snapshot" of all current settings should the unit be turned off before changes can be

saved. When the 4.24C is first powered up, the last working preset is loaded, displaying the number and name last

used before the unit was turned off. Any modifications made to that preset before saving it will remain in the working

preset until either the modified preset is saved, or a fresh preset is recalled to the 4.24C. When modifications to an

existing preset are made without saving, the display adds the text modified after the preset number.

4.3 Input Select

There are four audio inputs to the 4.24C, and each input is processed indepen-

dently and may be routed to one or several outputs. Select an input to edit its Gain, EQ,

and Delay settings, or to mute it. Signal routing occurs in the output section.

4.4 Output Select

There are eight outputs to the 4.24C, and each output can obtain its source from

any input, several combinations of inputs, or no input (off). Select an output channel to

edit its Source, Gain, Polarity, EQ, Delay, Crossover, or Limiter functions.

4.5 LED Indicators

Each input and output has a

five segment LED array for audio level

display, ranging from -20 through clip-

ping. The -20 LED is two-color, also

serving as the Mute indicator by turn-

ing red. The meter scale is factory set

so that 0 on the meter is 0dBu

(0.775Vrms), however it can be eas-

ily changed to VU scale (0 = +4dBu,

or 1.228Vrms) within the Util menu.

Preset 01

4 x 2-way Crossover

Esc

24 Bit Di

g

ital Crossover S

y

stem Processor

-20/

Mute

-10

0

+1 0

Clip

ABCD

Input Select

-20/

Mute

-10

0

Lim

Clip

Output Select

12345678

EQ

Xover

Limit

Dela

y

Gain

Save

Cop

y

Mute

Recall

Util

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

6

4.6 Audio Functions

4.6a Gain

Input and Output Gain are

separately adjustable from -40dB to

+12dB in 0.1dB increments.

The output gain menu also

provides for selection of input

source(s) for a given output channel,

as well as polarity of the outgoing sig-

nal. Input signal sources are A, B, C,

D, A+B, C+D, all four inputs com-

bined, or no input (Off). Keep in mind

that two signals which share significant

content, such as a stereo source, will

be up to 6dB louder when combined.

4.6b EQ

The Protea 4.24C EQ section

offers full parametric EQ as well as

1st and 2nd order shelving filters on

inputs and outputs. Each input chan-

nel has six selectable EQ filters, while

each output channel has four select-

able EQ filters. In all cases, each fil-

ter is selectable between parametric

(PEQ), 1st order Low Shelf (LS1), 2nd

order Low Shelf (LS2), 1st order High

Shelf (HS1), and 2nd order High Shelf

(HS2).

Shelving EQ filters: 1st order fil-

ters use a gentle 6dB per octave slope, while

2nd order filters use a 12dB per octave slope

for more a pronounced boost or cut. All

shelving filters have a boost/cut range of +/-

15dB. Low shelving filters have a frequency

range from 19.7Hz through 2kHz, and the

high shelving filters range from 3.886kHz

through 21.9kHz. Shelving filters are most

useful as broad tone controls to boost or cut

the high end or low end of an audio signal's

frequency content. Because they affect a

wider spectrum of audio, they are not as suit-

able for feedback control as parametric fil-

ters.

In

p

ut Gain

Channel A-D

Level

-40 to +12

Input Gain LCD Displa

y

GAIN A

0.0dB

Output Gain LCD Displa

y

Output Gain

Channel 1-8

Level

-40 to +20

Signal Source

A+B,C+D,All

Output

Polarity

A,B,C,D

GAIN 1

0.0dB

Source:A

Pol:Normal

200Hz 2KHz 20KHz20Hz

0dB

-10dB

-20dB

+10dB

+20dB

-30dB

Low Shelf Hi

g

h Shelf

4. 24C Shelving Filters

2nd Order Filter

1st Order Filter

Ch. A-D EQ

Ch. 1-8 EQ

EQ +/-

Level

EQ LCD Displa

y

Parametric

High Shelf-2nd

Parametric

Bandwidth

Low Shelf-1st

PEQ, LS, HS

Frequency

6 In

p

ut Fltrs

4 Out

p

t Fltrs

Low Shelf-2nd

High Shelf-1st

EQ 1

0.0dB

Filtr:1-PEQ

1000Hz 1.00o

7

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

Parametric EQ (PEQ) uses peak fil-

ters with the ability to control boost or cut,

frequency center, and bandwidth. Think of

one band of parametric EQ as a single graphic

equalizer fader except that the frequency is

variable, not fixed, and that the bandwidth,

or how "wide" the filter affects the frequency

spectrum at the center frequency, is com-

pletely variable. The smaller the bandwidth,

the less the audio signal on either side of the

frequency center is boost or cut, whereas a

larger "wider" bandwidth produces an audible

change to the overall tone of a signal. Para-

metric filters are best used to hunt down and

eliminate problem feedback frequencies, add

or remove a characteristic "hot spot" from mi-

crophones, or clean up room resonance situ-

ations. It is well worth the time getting pro-

ficient with parametric EQ filters, as they

offer the best solution to many EQ problems.

Protea 4.24C parametric filters have a boost/cut range of +15dB to -30dB. There is more cut than boost

because one of the more common uses for parametric filters is to dramatically cut, or "notch out", very narrow fre-

quencies (low bandwidth) in order to eliminate system feedback problems.

Every instance of a parametric EQ filter has a center frequency selected. The factory default is 1kHz, but each

filter's center frequency is adjustable from 19.7Hz to 21.9kHz in 1/24 octave steps. Carefully sweeping a narrow

bandwidth filter through a problem feedback area, with just a slight boost, is a quick way to find the exact frequency

causing trouble. Once the offensive frequency has been found, cut the filters level, and then the bandwidth is adjusted

as narrow as possible while still eliminating the feedback problem. Bandwidth is adjustable from about 1/64 octave to

four octaves, and the lower the bandwidth, the less audible the filter action will be. Finding the problem frequency is

relatively easy, but finding the best combination of cut and bandwidth takes a little practice. Again, it is well worth the

time becoming comfortable with the notching procedure, so that problems can be quickly addressed with a sufficient

but minimal amount of correction.

The EQ functions on all four inputs and eight outputs are switched in or out on an individual channel basis. In

other words, each input or output has one "switch" for all of its EQ filters. If certain filters are not going to be used

within a channel, simply leave the gain for that filter at 0.0dB, and the filter will have no effect.

For an excellent interactive display of the way parametric and shelving filters work, experiment with the

4.24C EQ section of Protea System Software. The software works whether a unit is connected or not, so it is an

invaluable teaching tool as well as an audio setup tool for Protea products. The program is shipped with 4.24C units,

but is also available on the Ashly web site.

4.6c Delay

In large installations or out-

door venues there are often many

speaker clusters in various locations

to get the best coverage possible.

Since sound travels relatively slow

through air (1130 ft/s at 20ºC), mul-

tiple loudspeaker locations can create a situation where the original audio signal, simultaneously leaving all loud-

speakers, arrives at a single point in the venue at several different times. Needless to say this causes problems, and

what may be crystal clear sound directly in front of any one loudspeaker can be a jumbled mess in the farther reaches

200Hz 2KHz 20KHz20Hz

0dB

-10dB

-20dB

+10dB

+20dB

-30dB

4.24C Parametric Filters

Wide

(

Hi

g

h

)

Bandwidth

Narrow

(

Low

)

Bandwidth

Ch. A-D Delay

Ch. 1-8 Delay

Distance

In Meters

Dela

y

LCD Displa

y

Time (ms)

Distance

In Feet

Delay

DELAY 1

0.00m

0.00ms

0.00ft

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

8

of the venue with direct line-of-sound to multiple loudspeakers. The solution is to

delay the audio signal to the loudspeakers located beyond the main stage area, so that

sound comes out of the distant loudspeakers at the exact time that sound from the

main stage loudspeakers arrives. Within the Protea 4.24C, up to 682 milliseconds of

time delay are available on each input channel, allowing secondary loudspeaker

clusters to be time aligned with the primary speakers up to 771 feet (235m) away

from the main stage area.

Output channels have time delay as

well, but much less than the inputs. This is

because output delay is best used to align dis-

crete drivers within a speaker cabinet or clus-

ter, normally quite close together. For example,

a typical three way speaker cluster would have

low end, midrange, and high frequency drivers

all located near one another. The different driv-

ers for each frequency band are not necessar-

ily the same physical depth with respect to the

front of the loudspeaker cluster, so there ex-

ists the problem of same signals (at the cross-

over points) arriving at the cluster "front" at

different times, creating undesirable wave in-

teraction and frequency cancellation. The so-

lution, again, is to slightly delay the signal to

the drivers closest to the cluster front. Using

the location of the driver diaphragm farthest

back as a reference point, measure the distance to other drivers in the cluster, and set

the output delay for each accordingly, with the driver diaphragm closest to the front

getting the longest delay and the driver at the very back getting no output delay.

Note: Although delay in the 4.24C is adjusted only by time, the corresponding dis-

tance in both feet and meters is always shown as well.

4.6d Crossover (Xover)

Crossover functions on the

Protea 4.24C are available only on the

eight output channels. Every

channel's crossover consists of a high

pass filter (HPF) and a low pass filter

(LPF), along with the frequencies and

filter types used. Each output's cross-

over section is essentially a bandpass

filter, making it necessary for the user

to map out ahead of time which outputs will be used for the various frequency bands, and set the overlapping filter

frequencies and types accordingly. Note: The HPF determines the lower frequendy limit of the signal, while the LPF

determines the upper frequency limit.

The frequency range for the high pass filter (HPF) is from 19.7Hz to 21.9kHz, with an option to turn the filter

off at the low end of the frequency selection. The low pass filter (LPF) offers the same frequency range, with the "off"

option at the high end of the frequency selection.

There are eleven types of filters available in the crossover section, each suited to a specific preference or

purpose. The slope of each filter type is defined by the first characters in the filter type, 12dB, 18dB, 24dB, or 48dB

per octave. The steeper the slope, the more abruptly the "edges" of the pass band will drop off. There is no best filter

Same sound arrives at

two different times.

Fix b

y

dela

y

in

g

secondar

y

speakers 177mS.

Speaker on

Main Sta

g

e

Secondar

y

Speaker

200 ft from Main Sta

g

e

Input (Lon

g

) Time Dela

y

For Remote Speakers

Hi

g

h - No Dela

y

Midran

g

e Dela

y

12 Inches = 0.9mS

Low Dela

y

8 Inches = 0.6mS

Example: 12 Inches

Example: 8 Inches

Out

p

ut

(

Short

)

Time Dela

y

For Driver Ali

g

nment

Crossover

Channel 1-8

HPF or LPF

Frequency

Crossover LCD Displa

y

Select

Slo

p

e and

Res

p

onse

HPF and LPF

CROSSOVER 1

19.7Hz

HPF

24dB-Lnkwtz

9

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

slope for every application, so experiment to see which one sounds most pleasing in a specific system. Ashly factory

default presets use all 24dB/octave Linkwitz-Riley filters in the crossover section, but of course they can be changed

to suit the application.

Crossover illustration from Protea System Software, showing two way crossover at 1KHz.

In addition to the frequency and slope, crossover filters can be selected as having Butterworth, Bessel, or

Linkwitz-Riley response. These refer to the shape of a filter's slope at the cut-off frequency, affecting the way two

adjacent pass bands interact at the crossover point. 24db/octave Linkwitz-Riley filters produce a flat transition through

the crossover region, assuming both overlapping filters are set to the same frequency, slope, and response type. 24dB/

oct Linkwitz-Riley filters are the industry standard, the easiest to use, and the filter type recommended by Ashly.

Other filter types are available, but may require polarity switching or other adjustments for proper results. The follow-

ing paragraphs offer a summary of the three filter types as used in the 4.24C crossovers.

Butterworth

Butterworth filters individually are always -3dB at the displayed crossover frequency and are used because

they have a "maximally flat" passband and sharpest transition to the stopband. When a Butterworth HPF and LPF of

the same crossover frequency are summed, the combined response is always +3dB. With 12dB per octave Butterworth

crossover filters, one of the outputs must be inverted or else the combined response will result in a large notch at the

crossover frequency.

Bessel

These filters, as implemented on the 4.24C, are always -3dB at the displayed crossover frequency. Bessel

filters are used because they have a maximally flat group delay. Stated another way, Bessel filters have the most linear

phase response. When a Bessel HPF and LPF of the same crossover frequency are summed, the combined response is

+3dB for 12dB/oct, 18dB/oct, and 48dB/oct Bessel filters, and -2dB for 24dB/oct Bessel filters. One of the outputs

must be inverted when using either 12dB/oct or 18dB/oct Bessel crossover filters or else the combined response will

have a large notch.

Linkwitz-Riley

The 12 dB/oct, 24dB/oct and 48dB/oct Linkwitz-Riley filters individually are always -6dB at the displayed

crossover frequency, however the 18dB/oct Linkwitz filters individually are always -3dB at the displayed crossover

frequency. The reason for this is that Linkwitz-Riley filters are defined in terms of performance criterion on the

summing of two adjacent crossover HPF and LPF filters, rather than defined in terms of the pole-zero characteristics of

individual filters. The 18dB/oct Linkwitz-Riley individually are 18dB/oct Butterworth filters in that they have

Butterworth pole-zero characteristics and also satisfy the criterion for Linkwitz-Riley filters.

When a Linkwitz-Riley HPF and LPF of the same displayed crossover frequency are summed, the combined

response is always flat. With 12dB/oct Linkwitz-Riley crossover filters, one of the outputs must be inverted or else the

combined response will have a large notch at the crossover frequency.

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

10

4.6e Limit

A full function compressor/

limiter is included on each output

channel. A limiter is commonly used

to prevent transient audio signal spikes

from damaging loudspeakers, manage

analog and digital recording levels,

optimize broadcast levels, or "thicken"

the sound of an audio source (com-

pression). The adjustable parameters

include Limiter In/Out, Limiter

Threshold, Ratio, Attack Time, and

Release Time.

The 4.24C limiter threshold range is from -20dBu to +20dBu. This setting determines the signal level above

which gain reduction begins, and is indicated by the yellow LED (Lim) in the output meter section. Increases in audio

level above the threshold will be reduced according to the ratio settings.

The ratio control determines the amount of gain reduction above limiter threshold. Ratio ranges from a gentle

1.2:1 to a brick-wall INF:1. To illustrate how the ratio control works, imagine a commonly used loudspeaker protec-

tion ratio of 10:1, which means that for every input signal increase of 10 dB above threshold, the output level will only

increase by 1dB. The higher the ratio, the more pronounced the audio effect, so use the lowest ratio possible to

sufficiently address the problem.

Attack (A__ms) and Release (R__ms) settings adjust the time it takes the limiter to engage and then disengage

when the signal increases above threshold and then subsequently falls back below threshold. Attack time is adjustable

from 0.5ms through 50ms, while release time ranges from 10ms through 1s. A very fast attack time can sound unnatu-

ral, while a very long attack time can miss some of the initial transient. Similarly, a very short release time can make

the audio sound uneven, while a very long release time can create "pumping", or "breathing" characteristics depending

on the kind of signal. Experiment to find the best solution for a given application.

4.7 Other Functions

The Protea 4.24C has a full complement of non-audio functions within a single

keystroke to navigate around the product quickly. Recall, Save, Copy, Mute, and a Utilities

menu complete the user friendly interface Protea products are known for.

4.7a Recall

There are 30 stored presets which can be recalled on the 4.24C. Note: A preset

recall will overwrite the working settings, so make sure the current configuration is saved

before continuing or it will be lost. Remember, an unsaved working preset shows (modi-

fied) on the preset name screen. Press Esc to see the preset name screen. The 4.24C

always loads the working preset on power-up, so as to preserve any changes should the

power be inadvertently turned off prior to saving.

Ashly has included ten preset templates as starting points for common 4.24C configurations, and these preset

templates repeat as they scroll through the 30 presets. To recall a new preset, press the recall button once, select the

desired preset number, and press recall again. At this point the LCD display prompts the user to mute the outputs or

not, and selecting Yes or No will load the new preset and mute all outputs if so desired. A new preset may have

dramatically different settings capable of damaging sound system components, so be careful not to recall the wrong

preset while the system is on. To be safe, always select "Yes" to mute all outputs.

1

2

Save

Cop

y

Mute

Recall

Util

Limiter

Channel 1-8

Limiter

Ratio

Limiter LCD Displa

y

-20 to +20

Release

Time (ms)

Threshold

Attack

Time (ms)

LIMITER 1

INF:1 A05ms

0dBu

R100ms

11

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

4.7b Save

Once the 4.24C has been adjusted to suit the application, the changes can be permanently saved to memory*.

To save a new configuration or save changes to an existing preset template, begin the process by pressing the Save

button once. The LCD display prompts for the new (or same) preset number, and after selecting the desired number

press Save again. At this point the name of the preset can be changed by selecting any one of the 20 text characters and

scrolling through the list of 89 available ASCII characters for each. Pressing the Save button again permanently stores

the working preset to the new preset location.

*Note: performing a Factory Reset will erase all user presets and replace them with the ten original Ashly

preset templates. User defined presets can be stored off-line as files using Protea System Software, or together as a

MIDI dump.

4.7c Copy

The Copy function is used to quickly transfer all settings from a currently selected input or output to another

input or output channel. An example of how this might be used is with stage monitors. Let's say there are eight

monitor mixes on stage, and they all use the same type of floor wedge. The first monitor could be set up with Gain,

EQ, and Limiting, then those settings could be quickly copied to the remaining seven monitors, providing a consistent

starting point for each mix. To copy, first select the input/output to copy from, then press the Copy button, then press

the input/output to copy to, pressing the Copy button a second time to complete the action.

4.7d Mute

The Protea 4.24C allows the user to mute both inputs and outputs. When muted, an input or output's red Mute

LED is lit. When an input or output is selected, pressing the Mute button will toggle its mute function. To quickly

mute all outputs, escape out to the top level preset display, then press the Mute button, pressing it a second time to

confirm. Additionally, when recalling a new preset number to the 4.24C, the LCD display prompts the user to mute all

outputs, as a new preset can introduce dramatic changes to the system configuration.

4.7e Util

The Protea 4.24C utilities in-

clude a security section for password

protected lockout, a dBu/VU meter

preference select, MIDI channel se-

lect, and MIDI dump.

Security

There are four security modes

in the 4.24C. Off (default), Preset

Lock, Parameter Lock, and Full Lock-

out offer varying degrees of protec-

tion to the 4.24C system.

1.) Off (none) allows full access to all controls.

2.) Preset Lock allows full access while disabling the save function.

3.) Parameter Lock allows the user to recall different presets, but allows no changes other than mute.

4.) Full Lockout allows absolutely no local changes, but allows viewing of current settings.

To access the security menu, first press the Util button, then select the Security display line on the LCD. Use

the data wheel to select from the four security levels. If the unit is brand new and has never had a security code, or has

had a factory reset, a four digit code must first be entered before changing security status. Use the output select

LED Meter

dBu/VU Scale

Utilities LCD Displa

y

MIDI

Dum

p

MIDI

Channel

Full-Lock

ParamLock

PresetLock

Off (none)

UTIL

Ref:dBu Midi:01

Secur:Off(none)

Dump

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

12

buttons 1-8 (recommended) or the data wheel (0-9) to enter a new code, then press Enter on the LCD. The LCD then

prompts the user to either change the code to a new four digit number, or change the Security status to one of the other

three options.

The only way to fully remove a security code once it has been entered is with a factory reset. This is done by

turning the power on while pressing Esc and Recall together, returning all settings, including user defined presets, to

their original factory settings. Note: In the event the four digit security code is forgotten, turn the 4.24C on while

pressing both the Esc and Util buttons.

dBu/VU Meter Select

The input and output meter scale is factory set so that a green LED flashing at 0 indicates a signal level of

0dBu, or 0.775Vrms. To change this to a VU scale, where 0VU = +4dBu (1.228Vrms), select the <Ref:> option in the

Util menu to VU.

MIDI Channel Select

To broadcast program changes to the 4.24C from a MIDI controller, it must first have a MIDI channel (1-16)

assigned in the Util menu. Standard MIDI program change messages (0-29) may be used to recall presets (1-30)

already saved within the 4.24C. Other function messages are system exclusive. A comprehensive PDF document

detailing complete MIDI implementation of Protea products is available on the Ashly Web Site.

MIDI Dump

To quickly download all 30 presets on a 4.24C to another 4.24C using MIDI, or save to a PC using RS-232 and

Protea System Software, select Dump from the Util menu, turn the data wheel to view the format choices, then select

the desired format to transmit the data. Only the presets are saved, not the security and preference items found in the

utilities menu.

4.7f Factory Reset

To clear all preset names, reset all controls to their original factory settings, and delete the password from

memory, Factory Reset may be performed by simultaneously pressing and holding Esc and Recall while switching

power on. Caution: doing this will erase all user-defined presets!

5. INTERCONNECT FEATURES

5.1 Audio Connections

All Protea audio connections use three pin XLR jacks, with pin 2 (+), pin 3 (-), and pin 1(G). Inputs and

outputs are electronically precision balanced. If an unbalanced signal is fed to an input, the signal should be on the (+)

connection (pin 2) and pin 3 must be tied to ground, or significant signal loss will result. In other words, never float

pin 2 or pin 3. It is strongly recommended that balanced signals be used whenever possible.

PUSH PUSH PUSH PUSH

ABCD

Inputs Outputs

1234

3

13

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

A Note About Input Signal Levels:

There are no analog gain trim adjustments on the Protea 4.24C, therefore all the processing (including gain)

is done in the digital domain. As a consequence of this design philosophy, it is important to feed the Protea processor

with the proper nominal signal level to achieve good signal to noise performance as well as headroom before clipping.

The Protea 4.24C is designed to clip at signal levels above +20dBu = 7.75Vrms which places the noise floor lower

than -90dBu. The optimum input signal level which should be fed into the Protea processor is 0dBu = .775Vrms. This

input level will allow 20dB of headroom while giving a nominal signal that is >90dB above the noise floor.

5.2 MIDI Connections

The Protea family of products include five additional audio processors, the 4.24G

Graphic Equalizer/Processor, 2.24S and 4.24S Graphic Equalizer slaves, and 2.24P and 4.24P

Parametric Equalizer Slaves. For simultaneous system control of several Protea products

which include the 4.24C, it is necessary to use MIDI cables to communicate program changes

from the 4.24C to or from other Protea products. The most common instance of Protea

MIDI control would be the use of Protea System Software, where a PC connects to one

Protea product (through the RS-232 jack) and that unit connects to other Protea units via its

Data In and Data Out jacks.

MIDI channel assignment within the 4.24C is done in the Util menu, and should match the MIDI channel

selected within the crossover section of Protea System Software. Note: If the 4.24C is connected to the PC (RS-232

Dataport) and looped to another unit(s) via both MIDI jacks (Data In/Out), then the RS-232 switch on the back panel

must be pushed in. If the 4.24C is any other part of the MIDI chain, or stands alone, the RS-232 switch on the back

panel should be left out.

5.3 RS-232 Data Connections

Protea System Software for Windows communicates to the Protea 4.24C

via the front panel RS-232 Dataport, using the computer's serial port (usually

COM 1-4). COM port assignment is done in the software under the COMMUNI-

CATIONS menu, and the 4.24C uses a D-Sub 9 pin female RS-232 connector,

fully compatible with a PC serial COM port.

The 4.24C also has an RS-232 mode switch on the back panel which is

normally left out. The only time to push in the RS-232 mode switch is when a

PC is connected to the front panel RS-232 Dataport, and other units are looped

into the back panel Data In and Data Out jacks.

D-Sub 9 Pin Female

RS-232 Pin-Out

12345

9876

Pin # RS-232 DCE Name

1

2

3

4

5

6

7

8

9

Not Connected

Transmitted Data

Received Data

Data Terminal Read

y

(tied to pin 6)

Ground

Data Set Read

y

(tied to pin 4)

Not Connected

Not Connected

Not Connected

5678 Data Out Standard Mode

Multiple Slave Mode

(1st Unit Only)

Ashl

y

Audio Inc.

Made In USA

4.24C

80-240VAC 50-60Hz 20W

On

AC

RS-232

Di

g

ital Audio Products

1/4A Max

Risk of Electric

Shock. Do

Not Open

CAUTION

Data In

Pin # Function

1

2

3

4

5

NC

Out & Thru - Ground, In - NC

NC

Data +5V

Data Si

g

nal

MIDI Pin-Out

13 4

2

5

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

14

6. PROTEA SYSTEM SOFTWARE

Protea System Software version 3.1 - Crossover Section for 4.24C control.

Ashly offers a powerful software control interface for the PC Windows environment, including separate con-

trol sections for the 4.24C crossover/processor, 4.24G graphic EQ (and slaves), the two parametric EQ slaves (2.24P

and 4.24P), and the VCM-88, a high performance eight channel remote level controller.

6.1 How to get Protea System Software

Protea System Software is shipped free with each Protea 4.24C, or disks can be purchased directly from Ashly

for a nominal fee. Additionally, Protea System Software can be downloaded from the Ashly web site at no charge.

6.2 Installing Protea System Software

The installation program is the same whether from the web site or from a disk, and is called <Pssinstl.exe>.

There is currently no version available for Mac™ computers. To install Protea System Software, double-click on

<Pssinstl.exe> and follow the installation instructions.

6.3 Connecting the 4.24C to a computer

*** Before attempting computer control, EXACT settings must be made to hardware switches and User

Preferences on ALL Protea units involved. Within the 4.24C itself, the MIDI channel (Util menu) and the RS-232

switch (back panel) need to be properly set. The Protea System Software MIDI channel assignment for the crossover

must match that of the 4.24C, and the correct COM port must be set for the 9 pin Dsub serial port connector on the PC.

If other Protea products are used in the MIDI loop, check their quick reference guide or owner's manual to verify all

settings and connector types. RS-232 will run reliably to 1300 feet using high quality cable, while MIDI will run up

to 500 feet with quality cable.

15

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

7. TROUBLESHOOTING

7.1 - Audio Troubleshooting Tips

No power - Is the detachable AC cord fully plugged in? Is the rear panel power switch on?

Controls don't work - check the Security Level. If set to Full Lockout, then Protea unit is "view only".

Change security settings in Util menu.

No sound - Check to see if the input or output is muted. Is the input or output Gain turned down? Check the

selected audio source(s) for each output, making sure there is signal applied to the designated input(s). If the cross-

over is used, make sure the high pass filter (HPF) is set to a lower frequency than the low pass filter (LPF).

Clip light stays on - Is the input signal level too high? Check to see that the nominal input level is 0dBu,

allowing 20dB of input headroom. Are input or output gain settings too high? Check to see if an EQ filter has too

much boost.

Distorted sound but no Clip LED- Check individual EQ filters to see if there is excessive boost.

Muffled sound - If expecting full range audio on an output, make sure the crossover settings are not inadvert-

ently set so as to limit the pass band.

Excessive Noise - An input signal level or an input gain setting that is too low could require the loss to be

made up for at the output gain stage, producing more noise than a properly set up gain structure. Do not use the 4.24C

for dramatic increases in level, but rather optimize the signal source for a nominal 0dBu output.

Forgot the password - See section 4.7e

7.2 RS-232/MIDI Troubleshooting Tips

1. Test all data cables. Use standard MIDI cables and RS232 data cables with all conductors wired straight

through. Monitor cables and Null Modem cables use non-standard wiring schemes, they will not work with a Protea.

See section 5.2 and 5.3 if using custom wiring.

2. Use a valid PC serial port. You must use a serial port that is not opened to any other application, such as a

mouse, modem, or another program. To verify that the port exists look in: Control Panel - System - Device Manager

- Ports. While you're there, make sure that the port has no warnings or conflicts. There is no need to change the port

settings because Protea System Software will do this automatically. Finally, you must select the valid port in Protea

System Software. This is done under the Communications heading - Com Port Assignment.

3. Make sure that the RS-232 mode switch, located on the back of 4.24C, is in the "out" position. There is just

one exception to this rule: the RS-232 mode switch gets pushed in only when both the RS232 Dataport is connected to

a PC, and the 4.24C is part of several Protea products in a MIDI chain.

4. Make sure the MIDI channel selected within the 4.24C (Util menu) matches the MIDI channel chosen for

the crossover section of Protea System Software, and make sure that no other devices use that MIDI channel.

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

16

8. SPECIFICATIONS

Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Active Balanced, 18KΩ

Max. Input Level . . . . . . . . . . . . . . . . . . +20dBu

Input Gain Range . . . . . . . . . . . . . . . . . . -40dB to +12dB

Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . Active Balanced, 112Ω

Max. Output Level . . . . . . . . . . . . . . . . . +20dBu

Output Gain Range . . . . . . . . . . . . . . . . -40dB to +12dB

EQ

EQ Filter Types . . . . . . . . . . . . . . . . . . . . 1st or 2nd Order High or Low Shelf, Parametric

Shelving Filter Boost/Cut Range . . . . . ±15dB

Shelving Filter Frequency Range . . . . Low Shelf 19.7Hz to 2kHz, High Shelf 3.8kHz to 21.9kHz

Parametric Filter Boost/Cut Range . . +15dB/-30dB

Parametric Filter Frequency Range . . 19.7Hz to 21.9kHz, 1/24 Octave Steps

Parametric Filter Bandwidth . . . . . . . . Four Octaves to 1/64 Octave

Delay

Input Delay . . . . . . . . . . . . . . . . . . . . . . . 0-682 milliseconds

Output Delay . . . . . . . . . . . . . . . . . . . . . . 0-21.3 milliseconds

Crossover

HPF and LPF Frequency Range . . . . . 19.7Hz to 21.9kHz, Off

Available Filter Types . . . . . . . . . . . . . . 12dB/Oct Butterworth, 12dB/Oct Bessel, 12dB/Oct Linkwitz-Riley

18dB/Oct Bessel, 18dB/Oct Linkwitz-Riley

24dB/Oct Butterworth, 24dB/Oct Bessel, 24dB/Oct Linkwitz-Riley

48dB/Oct Butterworth, 48dB/Oct Bessel, 48dB/Oct Linkwitz-Riley

Limiter

Threshold Range . . . . . . . . . . . . . . . . . . . -20dBu to +20 dBu

Ratio Range . . . . . . . . . . . . . . . . . . . . . . . 1.2:1 to INF:1

Attack Time Range . . . . . . . . . . . . . . . . . 0.5ms to 50ms

Release Time Range . . . . . . . . . . . . . . . . 10ms to 1 Second

Frequency Response . . . . . . . . . . . . . . . . 20Hz to 20KHz, ±0.25dB

THD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.01% @ 1KHz, +20dBu

Dynamic Range . . . . . . . . . . . . . . . . . . . . >110dB 20Hz - 20KHz unweighted

Audio Sampling Rate . . . . . . . . . . . . . . . 48KHz

Propagation Delay . . . . . . . . . . . . . . . . . 1.46mS

Signal LEDs & Clip . . . . . . . . . . . . . . . . Inputs: -20/Mute, -10, 0, +10, Clip (dBu or VU)

Outputs: -20/Mute, -10, 0, Limit Threshold, Clip (dBu or VU)

RS232 Cable Distance . . . . . . . . . . . . . . Up to 1300 ft (using high qualtiy cable)

MIDI Cable Distance . . . . . . . . . . . . . . . Up to 500 ft (using high quality cable)

AC Requirements . . . . . . . . . . . . . . . . . . Universal Power Supply, 80-260VAC, 50/60Hz, 30W max

Environmental . . . . . . . . . . . . . . . . . . . . . 40°F - 120°F (4°C-49°C) Non-condensing

4.24C Weight . . . . . . . . . . . . . . . . . . . . . . 9 Lbs

17

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

9. DIMENSIONS

10. WARRANTY INFORMATION

The unit you have just purchased is protected by a limited five-year warranty . To establish the warranty, be

sure to read completely, fill out and return the warranty card that came with your product. Fill out the information

below for your records.

Model Number _____________ Serial Number ________________ Dealer __________________________

Date of Purchase ___________ Dealer’s Address _______________________________________________

Dealer’s Phone _____________ Salesperson ____________________________________________________

4.24C Crossover

6.00"

0.00"

0.25"

18.75"

19. 00"

0.00"

0.25"

1.50"

1.75"

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

18

11. PROTEA 4.24C INSTALLATION RECORD

Installation_________________________ Installed by _________________ Date_____________________________

Venue Contact ______________________ Phone No. __________________ Address __________________________

Description of System ______________________________________________________________________________

_________________________________________________________________________________________________

_________________________________________________________________________________________________

_________________________________________________________________________________________________

4.24C Preset Information:__________________________ Preset No.________ Preset Name _________________

Input A: Input Gain ___________________________________ Input Delay ___________________________________________________

Input EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 5 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 6 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Input B: Input Gain ___________________________________ Input Delay ___________________________________________________

Input EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 5 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 6 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Input C: Input Gain ___________________________________ Input Delay ___________________________________________________

Input EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 5 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 6 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Input D: Input Gain ___________________________________ Input Delay ___________________________________________________

Input EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 5 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 6 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Output 1: Source ______________ Output Gain _____________ Polarity ____________ Output Delay ______________________________

Output EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Crossover HPF Frequency ____________ Filter Type ______________ Crossover LPF Frequency ______________ Filter Type ______________

Limiter Threshold ___________________ Ratio ___________________ Attack Time _________________ Release Time _____________________

Output 2: Source ______________ Output Gain _____________ Polarity ____________ Output Delay ______________________________

Output EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Crossover HPF Frequency ____________ Filter Type ______________ Crossover LPF Frequency ______________ Filter Type ______________

Limiter Threshold ___________________ Ratio ___________________ Attack Time _________________ Release Time _____________________

19

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

Output 3: Source ______________ Output Gain _____________ Polarity ____________ Output Delay ______________________________

Output EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Crossover HPF Frequency ____________ Filter Type ______________ Crossover LPF Frequency ______________ Filter Type ______________

Limiter Threshold ___________________ Ratio ___________________ Attack Time _________________ Release Time _____________________

Output 4: Source ______________ Output Gain _____________ Polarity ____________ Output Delay ______________________________

Output EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Crossover HPF Frequency ____________ Filter Type ______________ Crossover LPF Frequency ______________ Filter Type ______________

Limiter Threshold ___________________ Ratio ___________________ Attack Time _________________ Release Time _____________________

Output 5: Source ______________ Output Gain _____________ Polarity ____________ Output Delay ______________________________

Output EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Crossover HPF Frequency ____________ Filter Type ______________ Crossover LPF Frequency ______________ Filter Type ______________

Limiter Threshold ___________________ Ratio ___________________ Attack Time _________________ Release Time _____________________

Output 6: Source ______________ Output Gain _____________ Polarity ____________ Output Delay ______________________________

Output EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Crossover HPF Frequency ____________ Filter Type ______________ Crossover LPF Frequency ______________ Filter Type ______________

Limiter Threshold ___________________ Ratio ___________________ Attack Time _________________ Release Time _____________________

Output 7: Source ______________ Output Gain _____________ Polarity ____________ Output Delay ______________________________

Output EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Crossover HPF Frequency ____________ Filter Type ______________ Crossover LPF Frequency ______________ Filter Type ______________

Limiter Threshold ___________________ Ratio ___________________ Attack Time _________________ Release Time _____________________

Output 8: Source ______________ Output Gain _____________ Polarity ____________ Output Delay ______________________________

Output EQ EQ Filter no. 1 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 2 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 3 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

EQ Filter no. 4 Filter Type ______________ Frequency__________ Boost/Cut ________ Bandwidth(PEQ) _________

Crossover HPF Frequency ____________ Filter Type ______________ Crossover LPF Frequency ______________ Filter Type ______________

Limiter Threshold ___________________ Ratio ___________________ Attack Time _________________ Release Time _____________________

Utility Settings:

Security On/Off_________________ Password __________________ dBu/VU Meter Scale ____________ MIDI Channel Assigned ___________

Protea System Software Filename* ____________________________________________________________________________________________

*Protea System Software can print out the complete settings of the currently loaded preset. Upload 4.24C

presets to a PC using MIDI Dump via RS-232.

Operating Manual - PROTEA SYSTEM II 4.24C Crossover / System Processor

ASHLY AUDIO INC. 847 Holt Road Webster, NY 14580-9103

Phone: (585) 872-0010 Fax: (585) 872-0739

Toll Free (800) 828-6308 www.ashly.com

 2003 by Ashly Audio Corporation. All rights reserved worldwide.

PROTEA 4.24C R-2

20 Printed in USA 5/03

A1

BMute Delay Gain EQ

CMute Delay Gain EQ

DMute Delay Gain EQ

Protea 4.24C Block Dia

g

ramInputs Outputs

Mute Delay Gain EQ Select

a Source

for Each

Output

- A -

- B -

- C -

- D -

- A+B -

- C+D -

- ALL -

- NONE -

HpfLpf EQ Delay Gain Limiter Mute

3

HpfLpf EQ Delay Gain Limiter Mute

2

HpfLpf EQ Delay Gain Limiter Mute

5

HpfLpf EQ Delay Gain Limiter Mute

7

HpfLpf EQ Delay Gain Limiter Mute

4

HpfLpf EQ Delay Gain Limiter Mute

6

HpfLpf EQ Delay Gain Limiter Mute

8

HpfLpf EQ Delay Gain Limiter Mute

A/D Input

Mute

Input

EQ

Input

Meter

LEDs Input Channels A - D

-40 to +12dB

Input

Gain

6 Bands of

Parametric,

1st Order LS,

2nd Order LS

1st Order HS,

or

2nd Order HS

Input

Clip

Indicator

Input

Delay

0-682ms

Output

EQ

4 Bands of

Parametric,

1st Order LS,

2nd Order LS

1st Order HS,

or

2nd Order HS

-40 to +12dB

Output

Clip

Indicator

0-21ms

Output

Source

- A -

- B -

- C -

- D -

- A+B -

- C+D -

- All -

- None -

Xover

HPF/LPF

12dB BWorth

12dB Bessel

12 dB Linkwitz

18dB Bessel

18dB Bworth

24dB Bworth

24dB Bessel

24dB Linkwitz

48dB Bworth

48dB Bessel

48dB Linkwitz

Output

Delay

Output

Gain/

Phase

Invert

Output

Limiter

Output

Mute

Limiter

Threshold

LED

Output

Meter

LEDs

D/A

Output Channels 1 - 8

A/D