dbx 262 Manual de operação - Página 9

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1. Front Panel Operation

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

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

;

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/

Limiter

262

Operating Notes and Applications

1:1

+20

+15

2:1

+10

4:1

-5

Threshold

-10

- 1:1

-15

-15 -10

-5

+10

+15 +20

INPUT LEVEL (dB)

the signal is