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A limiter can help prevent damage to your speaker when you feed it too much signal. There are two main ways to damage a speaker:
•Rip it (" cone unit overstroke ") - a single audio transient pushes the speaker cone unit too much and too fast, causing permanent damage to the cone, resulting in severe distortion - or worse, outright damage.
•Burn it out (" drive unit overheat ") - the high level signal lasts too long, causing the voice coil to overheat and burn out.
Transient: A transient is a transient signal whose amplitude is much higher than the other signals - a "spike" in the signal.
Another use of the limiter is to prevent the horn load speaker from operating in a portion of its operating range, where it can cause serious distortion due to disturbed airflow at the horn throat. Although the drive unit will not suffer permanent damage, the resulting sound effect is very undesirable to hear.
Before looking at limiter Settings, you need to know the power rating of your speaker and amplifier. This is more complicated than it seems, because not all speaker manufacturers measure power in the same way. Details on this are beyond the scope of this article, and you'll need to get the information from your amplifier and speaker manufacturer.
In this case, you need to adjust the gain structure and amplifier sensitivity to safely use the speaker below the clipper point of the amplifier. If you make the amplifier too sensitive, you run the risk that an accident (such as a dropped microphone or a broken cable) will send too much signal to the speaker, and you will also have to operate the mixer at a lower signal level, resulting in more noise. If you adjust the amplifier too sensitively, you will not be able to use the full power energy.
Perhaps surprisingly, too little power can be dangerous. In fact, this can be even more dangerous, especially in systems with passive dividers. If the amplifier does not have enough power, you will most likely raise the level until clipping occurs, which will produce a large high-frequency transient that can destroy your drive unit. A typical example is the high signal level of a bass guitar or bass drum, causing the power amplifier clipping: the low frequency drive unit is fine, but the high frequency signal level is large enough to damage the treble unit.
Clipping: Clipping occurs when the amplifier does not provide the required signal level, "chipping" off the top and/or bottom of the waveform.
A great advantage of a fully active frequency divider system is that clipping occurs much less frequently.
Some engineers deliberately clipped power amplifiers in order to make ultra-low frequency speakers output louder pressure levels. This method is effective, but if you don't know exactly what you're doing, it's extremely risky and will always degrade the sound quality. The case design of many ULF speakers will eliminate the additional harmonic components generated, but it is difficult to predict exactly how to eliminate, and carefully calculated limiter thresholds and divider band gains are likely to fail. This technique only works if you are familiar with your system equipment and have a lot of experience using it, and even then it is not always successful. One thing is for sure, you should not have the amplifier clipped on any speaker other than an ultra-low frequency speaker - in addition to the possible damage, the sound is terrible!
Sound pressure level: SPL, or sound pressure level, is a measure of sound pressure in dB - the reference sound pressure in air is 20 micropa.
Now that you know you need a limiter, how do you set it up? Your main control, usually just one, is to set the threshold.
If the limiter threshold is set, when the volume is raised and the limiter is working hard, the signal level can be just below the overload point of the speaker. It is difficult to calculate this threshold value, so you need to rely on experience or use data provided by the manufacturer to set the threshold for a particular combination of power amplifier speakers.
If you use a limiter to avoid horn throat distortion, you need to listen carefully and set the threshold at the point where you think the distortion starts to become unacceptable. Be sure to experiment with different types of program material. A measuring microphone can also be used to feed the signal to the distortion analyzer. You can start with a lower limiter threshold and work your way up until distortion starts to appear.
Once you have the limiter set up correctly, amplifiers and speakers are relatively safe from overheating, but there is a hidden problem. If you overadjust the limiter carelessly or get too excited, you are actually using the limiter as a crude compressor.