Related Manuals for dbx 160S
Summary of Contents for dbx 160S
- Page 1 ¨ 160S Stereo Compressor/Limiter Owner’s Manual Mode d’emploi Bedienungsanleitung Modo de empleo...
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Page 2: Safety Instructions
LIVE BROWN BLACK NEUTRAL BLUE WHITE European Contact: Your Local dbx Sales and Service Office or EARTH GND GREEN/YEL GREEN International Sales Office 68 Sheila Lane WARNING: If the ground is defeated, certain fault conditions in the unit or in the... -
Page 3: Table Of Contents
Manual 160S Introduction ............ -
Page 5: Introduction
Introduction 160S Why You Need A Compressor A remarkable feature of the human ear is that it can detect an extremely wide range of amplitude changes - from the slightest whisper to a deafening clap of thunder. If one tries to record or reproduce... -
Page 6: The Difference Between Compressors And Limiters
Introduction 160S Clipping Clipped signal heavily distorted Headroom Operating Level Dynamic Range Useable dynamic range Noise Floor Audio levels below here are not heard, because of noise The Difference Between Compressors and Limiters By measuring the dynamic range of musical instruments in live recording situations, you will experience extreme amplitudes which will often lead to overload in subsequent signal processing equipment. -
Page 7: The Compression And Limiting Effects
Introduction 160S The Compression and Limiting Effects On a compressor, there is a relationship between the input signal, and the threshold level, input, out- put, and ratio settings. Look at an input signal applied to the inputs of two compressors. The threshold level of the second unit is set ten decibels higher than the threshold of the first unit. -
Page 8: Limiters And Peakstopplus
The advantage of program dependent compression is most apparent when processing musi- cal material that is varied. The dbx 160S Stereo Compressor is suitable for all applications because of its ability to be manually set at both attack and release parameters. - Page 9 Here is a partial list of the features found on the 160S. You won’t hear about most of them anywhere else, but they are critical to the amazing specs, comprehensive functionality, and visionary design of the 160S Stereo Compressor.
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Page 11: Connection To Your System
OFF position (pin #1 connected) until all connections are made. Be sure that your input and output cables are wired in the “pin 2-hot” configuration, which is printed on the rear panel of the 160S. For more information on other types of connections, refer to the section entitled Operating Notes. -
Page 12: Operating Controls
Thr eshold LEDs : These LEDs (above the Threshold control) indicate the relationship between the input signal and the threshold set by the Threshold control. The green LED lights when the input signal is below the set threshold. The yellow LED lights when the 160S is set in O mode via the OverEasy switch, and the input signal level is in the OverEasy threshold range. - Page 13 10:1 or more, it may be considered to be LIMITING the input signal, especially when a fast attack time is selected. Auto Switch : This switch sets the 160S for automatic or manual operation. When the Auto switch is IN mode), the compressor automatically adjusts its attack rate and release time to suit the pro- gram envelope.
- Page 14 160S. The circuitry of the 160S was designed in such a way as to make the audio path of the sidechain section very short and clean. The selection of the sidechain function is made via “relay” switching, not allowing the signal to pass through any unnecessary switches.
- Page 15 This control is independent of the threshold or compression ratio settings. Because 20dB of gain can be added at the 160S output, it is possible to cause clipping even when the input level is with- in the specified range. When the compression ratio is set at a low number, extreme clockwise rota- tion of the Output Gain control could cause the 160S output stage to clip audio program peaks.
- Page 16 STEREO nel one (the left side of the 160S) is the “master” and channel two (the right side of the 160S) is the “slave”. When the two channels are linked together, the controls on the master side control the set- tings of both channels of the 160S.
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Page 17: Rear Panel Description
Un balance Switch : The Unbalance switch is associated only with the Output connectors of the 160S. When it is in the IN position, the output of the 160S is switched from balanced to unbalanced. (See wiring diagram below.) In the OUT position, the 160S’s outputs are balanced in the “pin 2 hot” con- figuration. - Page 18 When selected, the sidechain Send connector (XLR male) “sends” the audio signal from the 160S to the outboard gear in the sidechain loop. (ie: dbx 20 or 30 Series Graphic Equalizer or digital delay. See the section marked Operating Notes for more information on the sidechain functions of the 160S.) The audio is processed, and sent from the out-...
- Page 19 ON and OFF. When the switch is in the DOWN position, revealing the red portion of the switch, the AC power to the 160S is ON. When the switch is in the UP position, no AC power is being supplied to the 160S, regardless of other power connections.
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Page 21: Operating Notes
1dB increase in the sig- nal level at the output of the 160S. A setting of 2:1 indicates an input:output ratio wherein a 2dB increase in input signal (above threshold) will produce a 1dB increase in output signal. -
Page 22: Using The Stereo Couple Switch
On the 160S, this is accomplished by means of the Stereo Couple switch. When activated, the 160S permits the RMS detectors of both channels to “talk” to one another. The SLAVE chan- nel (right, channel 2) then sends its signal to the MASTER channel (left, channel 1), where the RMS power of the MASTER and SLAVE signals are combined to generate a control voltage. -
Page 23: Using Peakstop®/Peakstopplus
A very fast attack setting (control maximum counterclockwise) will cause the 160S to act like a peak lim- iter even though RMS detection circuitry is used. Slower attack settings cause the 160S to act like an RMS or averaging detecting compressor/limiter. -
Page 24: Specific Applications
Using your EQ to reduce feedback in live settings You can use your 160S and an EQ (a dbx 20 or 30 Series graphic EQ) to reduce feedback in clubs or halls by placing the 160S at ∞:1, hard knee, and a low threshold. Increase the output gain until the first feedback ring occurs. -
Page 25: Sidechain Applications
160S permissible level, and set the stop level so that it just barely cuts in when the 160S is driven into heavy gain reduction. As a general rule, the compressors should be as close to the amplifiers as possible in the signal chain. - Page 26 By inserting an equalizer in the detector path of the 160S, it can be made more sensitive to frequencies in the range handled by the sensitive drivers. The system can then be run at higher levels and will only be dropped back when damaging, mid-range signals are present.
- Page 27 Patch bay In the studio, the 160S may be connected to a patch bay to allow it to be used anywhere in the studio system. In some cases where a balanced source drives the 160S, a 6dB difference in level will occur when the BYPASS switch is engaged.
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Page 29: Technical Support/Factory Service
Proof-of-purchase is considered to be the burden of the con- sumer. 2. dbx warrants this product, when bought and used solely within the U.S., to be free from defects in materials and workmanship under normal use and service.