ProSoundWeb Community. Please login or register. It's not the meter cal that's the issue here; the controls are waaay off. I opened it up and there's a half-dozen trimpots. My presumption is that a trimpot moved at some point maybe after I dropped my rack and the thing needs to be re-calibrated. An e-mail to dbx came back with a "sorry, we don't support the X" but he did attach a user manual for it.
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This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Read the manual. Manufactured under one or more of the following U. Other patents pending. Kino-Gerate Ges m. All trademarks are property of their respective companies. For more detailed information, refer to the specified pages.
Page 4 Inspection 1. Unpack and Inspect the XT package. Your 1 60XT was carefully packed at the factory in a protective carton. Nonetheless, be sure to examine the unit and the carton for any signs of damage that may have occurred during shipping.
If obvious physical damage is noticed contact the carrier immediately to make a damage claim. We suggest saving the shipping carton and packing materials for safely transporting the unit in the future. Please complete the Registration Card and return it. Please fill in the Registration Card, detach it from the Warranty Certifi- cate, and send the card to us today. The Registration Card enables us to inform you of new applications and performance improvements that are developed, and it helps us re- spond promptly to claims under warranty without having to request a copy of your bill of sale or other proof of purchase.
We recommend you take a moment and read through the manual as it provides information that will assist you from system installation to opera- tion to special applications. We have added a few new features to the dbx Model XT while main- taining the performance and ease of operation of its predecessor, the dbx X. Note: a 1 60X unit can also be used with the same results as long as the XT is used as the master unit.
Useful when troubleshooting hum AC line interfer- ence. Instead a DC voltage controls all functions which eliminates any possibility of potentiometer noise as the con- trols age. Applications The dbx XT is capable of handling a wide range of applications. In the studio, the 1 60XT can be used on everything from vocals to percussion. In radio or television broadcast, the XT will produce stable voice levels, even with non-professional subjects. In hard-knee compression mode, the threshold is defined as that point above which the output level no longer changes on a basis with changes in the input level.
See following pages. Rear Panel [ 3E? That is, when a phone plug is inserted, the detector input is no longer connected in parallel with the audio input. Do not short either pin 2 or pin 3 to ground. This will not damage the unit, but may increase distortion. This is not a chas- sis-isolate switch. The circuit ground is floating with the respect to the chassis.
This will provide accurate processing for a stereo programming. AC Cord: Plug into mains power. Note that the XT does not have a power switch. Power consumption is low.
If you do not plan to use the XT for an extended period of time, unplug it. Connection to an inappropriate power source may result in extensive damage which is not covered by the warranty. Input signals which fall be- low this level will pass through the 1 60XT unprocessed except for fixed gain changes directed by the output control.
See Figure 4. Figure 3. A setting of indicates an input:output ratio wherein a 2dB increase in signal above threshold will produce a IdB in- crease in output signal. In other words, the output level is constant when the input signal is above thresh- old.
At a setting of , the above threshold input signal must increase by IdB in level to decrease the signal at the output of the XT by IdB. See Figure 5. The control curve of the RATIO potentiometer has been designed to pro- vide total operator control, with scale expansion at the subtle lower ratios for easy, repeatable settings.
If two independent compressors are used to process the stereo program, a loud sound occurring in one channel will cause a gain reduction only in that channel. This gain reduction would cause the perceived image of any sound spread between the two channels to move toward the side which had not been compressed, because the spread signal would be momen- tarily softer in the compressed channel.
This can be avoided by linking the two compressors in such a way that both channels receive the same amount of compression. Due to the gentle OverEasy characteristic of your XT you will find that even fairly high ratios are handled transparently. Compression lessens the loudness variations among the strings and increases the sustain.
Other instruments, such as horns, vary in loudness depending on the note being played, and benefit similarly. NOTE: When compressing a stereo program with a pair of XTs, the factors affecting a compression curve and the actual compression ratio and threshold settings, are like those previously covered with reference to single channels of program material.
However, it will generally be found that large amounts of compression are more audible in a mixed stereo program than they might be on the separate tracks that were mixed to cre- ate the program. Raising a signal out of a mix Since reducing dynamic range increases the average signal level by a small amount, a single track can be raised out of a mix by boosting its level slightly and applying compression.
It is also possible to separate cer- tain vocals or instruments from a mono program already mixed by fre- quency-weighted compression see page Using your EQ to reduce feedback in live settings. The XT will catch it, and hold it as a constant tone so you can adjust your EQ to minimize it.
Preventing tape saturation With programs of widely varying levels, compression can prevent record- ing levels from saturating tape tracks see Frequency-weighted compres- sion, page Limiting also benefits intelligibility by allowing low-level input signals to be reproduced through the system at higher volume.
As a general rule, the compressors should be as close to the amplifiers as possible in the signal chain. For a stereo sound-reinforcement system, stereo strapping cables should be run between the XTs in each band low-low, mid- mid, etc.
Remember that, as with any amplifier, excessive gain may lead to output clipping of high level signals. Side-chain applications Frequency-weighted compression It is possible to separate certain vocals and instruments from a mix by fre- quency-weighted compression. With an equalizer inserted ahead of the detector input but not in the audio path , the equalization settings do not shift the timbre or frequency response of the audio signal. Of course, when compression does occur, the level of the entire program is affected.
Depending on the THRESHOLD setting, lower level fundamentals or harmonics will not cause compression, and the program is not subject to the phase shift nor- mally caused by program equalization. During the recording of cymbals and tom-toms, a compressor with an equalizer in the detector path can help prevent tape saturation. The equal- izer can be adjusted for boost with a peak of about 5kHz, causing the cym- bal to be compressed on a very loud crash, stopping tape saturation at high frequencies, where there is less headroom.
However, gentle tapping of a drumstick or brushing of the cymbal will not be held back. Assuming the tom-tom is a lower frequency instrument and can be better tolerated by the tape, it has less need for compression. The equalization in the de- tector circuit means that the compressor is not triggered as readily by a loud tom-tom beat as by an equally loud cymbal crash.
The converse of the above EQ technique may be used: dipping the equal- izer bands causes any sound with dominant energy in the affected regis- ter to pull the level up because the XT will detect a need for less compression. De-Essing To apply de-essing to vocals i. Increasing sustain To increase the sustain of a musical instrument e. Using a Filter in the Level Detector Circuit The results of inserting a filter in the level detector circuit are basically the same as obtained with an equalizer, as previously described.
Those fre- quencies passed by the filter are subject to compression or at least they are subject to considerably more compression than those frequencies out- side the passband.
Multi-way speaker systems If a single compressor is to be used with a multi-way speaker system i. If, for example, mid-range drivers are frequently damaged, the whole system must be operated at a lower sound-pressure level, or additional mid-range drivers must be added. By inserting an equalizer in the detector path to the XT, it can be made more sensitive to frequencies in the range handled by the sensitive drivers.
The system can then be run at higher levels and will only be dropped back when dam- aging signals are present. Pre-emphasis for broadcast applications By inserting a pre-emphasis filter network in the detector path of a XT processing pre-emphasized audio, higher levels can be run within the headroom limitations of the broadcast chain. See figure 7. With some experimen- tation, the effect can be that of zero attack time at a given frequency.
This will suppress the program material pre- ceding this loud passage. The XT will then begin to release recover from compression before the loud passage has ended. For more specific installation information, refer to Installation Considera- tions, page Turn Off all equipment before making any connections.
Plug in the AC power cable to power On the unit. The master 1 60XT will now respond to the combined inputs of the XTs. In certain situations, the auxiliary device may need to be inserted in the signal path, not in the detector path. Some common examples include: mixing consoles, mu- sical instruments, patch bays, and other signal processors.
Mixing Board If you wish to compress a particular track of a multi-track recording or one channel of a live performance mix, the 1 60XT output can be directly con- nected to a line input jack balanced or not , or wired to an Insert point.
In the latter case, the signals will most likely be unbalanced. Musical Instruments i. Such sources can be balanced or unbalanced — this is no problem for the 1 60XT.
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