dbx Pro 262 operation manual Operating Notes and Applications, Mixing Board

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Operating Notes and Applications

OUTPUT LEVEL (dB)

+20

+15

+10

+5

0

-5

-10

-15

∞

−

−1:1

−

2:1

4:1

∞:1

Threshold

−1:1

-15 -10 -5 0 +5 +10 +15 +20

INPUT LEVEL (dB)

Figure 3: Ratio Control and Infinity+™ (Negative) Ratios

Applications

Typical patch points include: a mixer’s channel or subgroup inserts when using the 262 on individual instruments or tracks; the mixer’s main outputs or bus inserts when mixing; an instrument preamp’s effects loop when using the 262 for guitar or bass; main outs of a submixer (e.g., drum mixer) as the signal is sent to main mixer; between a DAT’s output and an analog cassette input. When using a chain of processors, the 262 may be placed either before or after effects or dynamic processors. However, if you are using the 262 for speaker protection, the compressor should be as close to the amplifier as possible in the signal chain. We recommend you use common sense and experiment with dif- ferent setups to see which one provides the best results for your needs.

Mixing Board

If you wish to compress a particular track of a multitrack recording or one channel of a live performance, connect a cable from the audio source’s output jack to the 262 INPUT, and connect the 262 OUTPUT to a line input jack (bal- anced or not), or the 262’s INPUT and OUTPUT can be wired to an insert point. In the latter case, the signals will most likely be unbalanced as is typical of most insert signals.

Note: The amount of compression is directly related to the level of the input signal. However, depending upon your system’s setup, it may not always be crystal clear as to which volume controls in your chain affect input level and which affect output level. If the 262, in relation to your mixer channel’s volume controls, is “pre-fader” (i.e., the 262 is connected to mixer inserts so that the compression effect occurs before the mixer channel’s volume fader), you can boost or cut the input level by adjusting the mixer channel source’s volume control (e.g., a synthesizer’s volume control) and vary the track’s output level using either the 262’s OUTPUT GAIN control or the mixer channel’s volume fader (the latter here is great for track fade-outs). Keep in mind that it is best to set the OUTPUT GAIN of the 262 to achieve a “nominal” level that the mixer channel would like to “see” and use the channel fader to change levels. This method maintains proper signal levels through the channel and avoids either running out of headroom (clipping) or increasing noise by running the channel

Compressor/

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Contents Compressor Limiter Declaration of Conformity Table of Contents Warranty Introduction Warranty and IntroductionInspection and Front Panel InspectionFront Panel Operation Output Level dB Front PanelRear Panel Operation Connections Rear Panel and ConnectionsUsing the Compression Ratio Control Using the Threshold ControlOperating Notes Operating NotesOperating Notes and Applications ApplicationsMixing Board Applications Patch BaySound Reinforcement Fattening Kick Drums and Compressing Other Drums Raising a Signal Out of a Mix Preventing Tape SaturationPreventing Digital Overload Raising Average Level in PA Systems 262 as a Line AmplifierIncreasing 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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