Applications

mic changes, or when the dynamics of a voice changes relative to a vocalist’s range. To smooth out these variations, start with the 262 in OverEasy® mode and adjusted for a low to medium COMPRESSION RATIO (e.g., 4:1). Adjust the THRESHOLD control so that the GAIN REDUCTION meters show 6 dB to 10 dB of gain reduction, then increase the COMPRESSION RATIO if necessary. Due to the gentle OverEasy® characteristic of your 262 you will find that even fairly high ratios are handled transparently.

Smoothing Out Variations (and Increasing Sustain) in Musical Instrument Levels

To achieve a smoother electric (or electronic) bass sound, compress the instru- ment’s output with a COMPRESSION RATIO of approximately 4:1, then adjust the THRESHOLD control for 10dB to 12dB of gain reduction. Compression lessens the loudness variations among the strings and increases the bass’ inher- ent sustain. Other instruments, such as horns, vary in loudness depending on the note being played, and benefit similarly.

To control untimely volume shifts in “hot” guitar or synth parts and to keep them from overloading your tape deck or mixer during recording and live per- formances, start with the COMPRESSION RATIO at approximately 5:1 and the THRESHOLD set to the average maximum level of the track. This will ensure that only the offending “hot” part is compressed. Adjust both controls as neces- sary.

To add sustain to guitar or synthesizer string sounds, begin with a higher COM- PRESSION RATIO (from 10:1 to °:1), then adjust the THRESHOLD control to taste. For example, you can use a compressor to alter the envelope of a synth patch to create an otherworldly synth pad that has just the right amount of body and soul without losing its initial impact: begin with a synth sound that has a bite on its attack, but ends with a long release time. While playing slow, but steady, synth stabs or chords, compress the sound heavily; adjust the THRESHOLD to taste and toggle between OverEasy® and Hard Knee modes to hear the effect each mode has on the attack and release of the envelope. Heavy compression of guitars and synths, as they are being recorded to digital formats, can often help revive their sense of “analog life.”

Negative ratios alter the envelope of a sound differently than high compression ratios. With the 262 in the path of a synth or guitar, set the COMPRESSION RATIO to -1:1, -2:1 or -5:1. Methodically strike a series of chords and listen to how the compression softens the attack and quickens the release. Adjust the THRESHOLD and experiment with different types of sounds and 262 settings.

Negative ratios can also be used to prevent musicians from continually increas- ing the volume of their instrument (e.g., in live applications where there is no sound engineer to control the house levels). With their signal compressed by a negative COMPRESSION RATIO, each volume increase initiated at the instru- ment or amp would actually decrease the volume level at the final mix.

Fattening Kick Drums and Compressing Other Drums

Weak, flabby kick drums often have too much boom, and not enough slap. To tighten them up, start with the 262 adjusted for a medium to high COMPRES- SION RATIO (e.g., 6:1), adjust the THRESHOLD control so that the GAIN

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dbx Pro 262 operation manual Fattening Kick Drums and Compressing Other Drums
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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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