dbx Pro 262 operation manual Applications, Patch Bay, Sound Reinforcement

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Applications

signal too low.

If the 262 is “post fader” (i.e., the 262 is connected to mixer inserts so that the compression effect occurs after the level set by the mixer channel’s volume fader), adjusting the mixer’s volume fader changes the input level and the amount of compression. If you would rather have this volume fader control out- put, we suggest you set up the compressor directly between the source and the mixer channel’s input. This way, you can use the instrument’s volume control to define the input level and amount of compression and the mixer’s volume fader to change only the overall volume of the track.

Musical Instruments (e.g., Electric Guitar, Bass, Keyboards, Electric-

Acoustic Instruments)

The output of an electric guitar is sometimes not “hot” enough to drive the 262’s INPUT. When this is the case, you should use the “PREAMP OUT” of your guitar amp (if so equipped), or the output of some other device that is designed to accept low-level instrument inputs (including various foot pedal effects, acoustic pickup preamps, and rack mount audio products, like the dbx 163A and 263A). Such sources can be balanced or unbalanced - this is no problem for the 262.

With most setups these low-level sources require signal boost to drive the 262’s INPUT. For example, when recording voice directly to a portable tape deck, a mic preamp (like the dbx 760X) placed between the mic and the 262 (which is then fed to one of the recorder’s inputs) can boost the low-level signal to a line-level required by the 262.

Keyboards, samplers, drum machines and sound modules typically produce a line-level signal and can be connected directly from the instrument’s output to the 262’s INPUT.

Note: DO NOT CONNECT the output of a power amp or the speaker out of an instrument to the input of the 262. Severe damage to system components may result.

Patch Bay

In the studio, the 262 may be connected to a patch bay to allow it to be patched anywhere in the studio system.

Sound Reinforcement

To compress a live mix or to protect loudspeakers, connect the 262 between the source (mixing board or distribution amp) and the power amp(s). If multi- way loudspeakers with low-level electronic crossovers are used, the 262(s) should go after the crossover(s). For a stereo system, you can separately stereo couple the two high band crossovers, low band crossovers, etc.

Specific Applications

Note: The following control settings for each application are suggested as a starting point. Adjust them for your requirements.

Smoothing Out Variations in Microphone Levels

Variations in signal level can occur when the distance between a vocalist and a

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Contents Compressor Limiter Declaration of Conformity Table of Contents Warranty and Introduction Warranty IntroductionInspection Inspection and Front PanelFront Panel Operation Front Panel Output Level dBRear Panel and Connections Rear Panel Operation ConnectionsOperating Notes Using the Threshold ControlUsing the Compression Ratio Control Operating NotesApplications Operating Notes and ApplicationsMixing Board Patch Bay ApplicationsSound Reinforcement Fattening Kick Drums and Compressing Other Drums Preventing Tape Saturation Raising a Signal Out of a MixPreventing Digital Overload 262 as a Line Amplifier Raising Average Level in PA SystemsIncreasing Sustain Stereo Couple Compressor Limiter Harman International Company

262 specifications

The DBX Pro 262 is a highly regarded professional audio processor that excels in delivering versatile signal processing capabilities. Designed for both live sound and studio environments, the Pro 262 combines high-quality dynamics processing, filtering, and precision mastering features, making it a powerful tool for audio engineers and producers.

One of the standout features of the DBX Pro 262 is its dual-channel design, allowing users to process two different audio signals independently. This makes the device particularly well-suited for a variety of applications, from live concerts to studio recordings. Each channel is equipped with a comprehensive set of controls, including threshold, ratio, attack, release, and gain make-up, allowing for precise dynamic control over the audio signals.

The Pro 262 employs advanced VCA (Voltage Controlled Amplifier) technology, which delivers transparent compression without colorizing the audio. This technology is crucial for maintaining the integrity of the original sound while ensuring that levels are controlled efficiently. Additionally, the unit features a peak limiter that safeguards against unwanted distortion by preventing signals from exceeding a set threshold.

Another notable characteristic of the DBX Pro 262 is its inclusion of a full parametric equalizer. The EQ section provides users with up to 12 bands of adjustable frequency bands, enabling detailed shaping of the audio signal. This precision EQ allows for effective problem-solving in both live performance and studio mixing environments.

In terms of connectivity, the Pro 262 comes with balanced XLR inputs and outputs, ensuring that the signal integrity is maintained throughout the audio chain. It also features a sidechain input, which allows users to set up external control for dynamic processing based on different input signals.

The unit is designed with an intuitive, user-friendly interface that allows engineers to make quick adjustments during live performances. LED meters provide real-time feedback on levels and gain reduction, ensuring that users can monitor performance at a glance.

Overall, the DBX Pro 262 is not just a versatile processor; it is a reliable tool that brings professional-grade dynamics processing and equalization to a wide range of audio applications. Its cutting-edge technologies make it a must-have for any audio professional seeking to elevate their sound quality and creative expression.
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