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

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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