Applications

aging drivers in a sound-reinforcement system (whether you’re doing auditori- um, church, or club sound engineering, or are a mobile DJ for small dances, or like to push the limits of your home’s audio entertainment center). Set the 262 for limiting (Hard Knee mode On, with a COMPRESSION RATIO of 10:1 or greater) and adjust the THRESHOLD to provide 15dB or more of compression (just a few dB below the input clip). For low-level signals, the 262 won’t change gain, but if large signals come along, the gain will be reduced to pre- vent clipping and save sensitive system components from excessive heat buildup or other type of damage.

In circumstances where the 262 is expected to cause no change in gain unless an emergency arises (wildly excessive levels), some operators set Hard Knee mode On, the COMPRESSION RATIO to °:1, and the THRESHOLD to the high- est permissible level.

As a general rule, compressors should be as close to the amplifiers as possible in the signal chain. If the 262 is placed before the EQ (equalizer), for example, a potentially damaging boost in the EQ won’t be seen by the 262 and the speakers may be damaged. For maximum sound pressure levels, large sound reinforcement systems frequently use a separate compressor on each output of the electronic crossover(s).

Raising Average Level in PA Systems

Limiting (i.e., compression at high ratios like °:1) also benefits intelligibility by allowing low-level input signals to be reproduced through the system at higher volume. In a musical performance, this provides additional intimacy as the vocalist’s whispers are heard clearly at every seat in the house. The OverEasy® curve available with the 262 permits a very high amount of compression (COM- PRESSION RATIO of 10:1 or greater) to be used in many situations. This allows dynamic speakers, vocalists and other musicians to concentrate on their presen- tation or performance without worrying about the ill effects of volume changes.

Using Your EQ to Reduce Feedback in Live Settings (Indoor and Outdoor Concerts, Churches)

You can use your 262 and EQ (equalizer) to reduce feedback in clubs, church- es, outdoor concerts and other live settings. Patch or insert the 262 into the main output of a mixer, set the 262 to Hard Knee mode and slowly increase the console gain control until the first feedback “ring” occurs, then set up the 262 with its COMPRESSION RATIO at °:1 and THRESHOLD low. The 262 will catch the first feedback ring and hold it as a constant tone so you can adjust your EQ to minimize it. Continue to increase your console gain and set your EQ until the next 3 or 4 “ring” frequencies have been compensated for.

The 262 as a Line Amplifier

To use the 262 as a line amplifier, adjust the COMPRESSION RATIO control fully counterclockwise (1:1 position), THRESHOLD fully clockwise (+20) and OUT- PUT GAIN to whatever setting is required for the application. Remember, exces- sive gain may lead to output clipping of high level signals. To add compression, adjust the COMPRESSION RATIO and the THRESHOLD controls to the desired settings.

Increasing Sustain

To increase the sustain of a musical instrument (e.g., a guitar or bass). Set the

Compressor/

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dbx Pro 262 operation manual Raising Average Level in PA Systems, as a Line Amplifier, Increasing Sustain
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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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