dbx dbx 1215 2000 dbx Full Line

Full Line

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More than 25 years ago, a brilliant young engineer named David
Blackmer revolutionized the music industry with the invention of the
voltage-controlled amplifier (or VCA). A short time later, the release of
the now-legendary dbx 160 compressor/limiter heralded the arrival of a
new industry heavyweight. Soon after that, dbx–and the recording world
at large–reached another milestone—with the 1977 introduction of the
165 compressor, with its highly evolved, threshold-sensitive OverEasy®
circuit. In fact, 22 years later the 160 and 165 are still greatly sought after,
fetching prices many times their original cost–that is, if you're fortunate
enough to find someone willing to part with one!

With each passing year the stunning dbx legacy continues to grow.
Today the tradition of excellence and ingenuity continues. This catalog
introduces you to the entire dbx product line. You'll notice that, while
remaining faithful to our tried-and-true roots, our team of musicians and
engineers continues to push the audio envelope, as evidenced by our
new digital mastering processor–the Quantum. The new dbx 12 Series
equalizers prove we haven’t forgotten about the budget-conscious, no­nonsense audiophiles, either. Our fanatical commitment to developing
stellar, innovative sound gear is what makes us not just a mainstay, but
one of the most respected companies in the music industry.

dbx: A Legacy of Innovation

“Quantum provides Type IV 96kHz converters
in conjunction with the dbx TSE , which is a

really unique and interesting

function. Not wanting to take

a long detour into the tech-

niques and technologies used,
let me just state that using the Type IV conver­sion system is a remarkable change to the way
we hear digital conversion, especially when the
inputs are pushed hard. A clarity and detail
that is normally lost when you bang into the top
of the headroom can be retained by the use of
the TSE processing. Used tastefully, the TSE is a
nice addition to the conversion process. During
my testing of the Quantum over the past month,
the dbx Type IV converters have been used with
a high degree of satisfaction. If you have a tape
that can use a bit of help during conversion,
you can use one of the five included color
modes to get a “head start” on the processing.”

—Audio Media Magazine, September 1999*

The engineers at dbx designed the to
be the standard by which all digital mastering processors
are measured. With our patented
Conversion System and Tape Saturation
Emulation circuitry, the Quantum allows your signals to
retain their analog warmth and character,while delivering
the sonic clarity that today’s digital envir onments demand.
Other features include four-band stereo gating,compres­sion, and limiting; five-band parametric EQ (with adaptive
or constant Q); high and low shelves with switchable
slopes of 3, 4.5, 6, 9, and 12 dB/octave; pre- or post­dynamics positionable EQ;five-band parametric sidechain
EQ (with adaptive or constant Q); dual mono or true
stereo operation with true RMS Power Summing™; nor­malizer with flexible gain optimization; stereo adjust;
dithered outputs to 8,16, 20, or 24 bits; noise shaping;
sample rate conversion; and low-jitter synchronized
inputs and outputs that use dbx’s proprietary clock chips.
For greater flexibility, the Quantum also allows you to
send and receive data in AES/EBU or S/PDIF formats.

Producing hi-fidelity sound while digitally mastering,
has more to do with extended ranges than many audio
manufacturers would like you to believe. Theoretically
speaking, the Quantum’s resolu­tion is beyond the limits our ears can perceive.Practically
speaking, this extended resolution provides an unques­tionable improvement in audible frequency response. In
addition, the Quantum’s 48-bit path gives you the “hard
and fast” room necessary for true 24-bit output,allowing
you to use only one stage of dithering.

To get a better idea of the Quantum’s power and
flexibility ,imagine a client has brought y ou a stereo mix on
a digital workstation. The mix is recorded at 96kHz/24­bits.In order to create a CD-compatible mix,you need to
convert to 44.1kHz/16-bit. With the Quantum, this is no
problem.Whether you are going from the workstation to
a DAW, DAT, or a stand-alone CD-R, the Quantum can
handle any digital sampling rate (i.e., 96, 88.2, 48, or

44.1kHz). The Quantum can also dither down to 24, 20,
16,or 8 bits.

96kHz/48-bit

TSE™

Type IV™

Quantum

2

QUANTUM

DIGITAL MASTERING PROCESSOR

“In a market full of ‘me-too’s’, the dbx Quantum

is a pleasant surprise.”

—Audio Media Magazine, September 1999*

The DI/O digital output card allows you to take advantage
of the full potential of the dbx DDP processor.The card features
S/PDIF input and output jacks, as well as gold-plated AES/EBU
inputs and outputs. The digital I/O will automatically be detect­ed by the software once installed in the DDP. The sampling rate
is selectable between 44.1 or 48 kHz and the digital input will
lock to the sampling rate of the incoming signal. In addition,the
analog and digital outputs can be used simultaneously making it
the only way to improve the DDP in a digital recording envi­ronment.

DIO - Digital IO for the DDP

The (Digital Dynamics Processor) is truly in a league of its own.Besides sporting superb gating,com­pression,limiting,de-essing,and equalization,the menu-driven DDP features 24-bit operation,as well as our patent­ed Conversion System, Tape Saturation Emulation, and

technologies. Its compressor includes standard hard knee, classic

, and our new circuitry (which has 10 graduated OverEasy® preset levels).In
addition to these exceptional effects,the DDP features full MIDI SysEx automation,making it one of the most ver­satile processors on the market today.

While the impressive effects and patented features of the DDP are second to none,they mean nothing with­out an intuitive way to visually monitor ever ything that’s going on. This is another area in which the DDP shines.
Whether in dual mono or stereo mode,the DDP’s channel-specific I/O meters,eight-segment analog LED ladders,
lighted effects module buttons,and large LCD-–complete with graphical dynamics cur ve readout–make program­ming and navigation a breeze.

VariKnee™OverEasy®

True RMS Power Summing™

TSE™Type IV™

DDP

3

DDP

DIGITAL DYNAMICS PROCESSOR

Revolutionary is the only way to describe our proprietary Type IV™ Conversion System and TSE™
Tape Saturation Emulation circuitry. By now, most of us know that both the analog and digital
worlds have their advantages and disadvantages. While analog audio tends to be “warm” and
pleasing, it is also plagued by unwanted distortion. Digital audio, on the other hand, has a pris­tine clarity and is easily manipulated, but tends to sound sterile and harsh. The Type IV™
Conversion System, teamed with TSE™, takes the best of both these worlds, capturing the true
essence of analog warmth and coupling it with the clarity and flexibility found in the digital
domain. To put it mildly, TSE™ and the Type IV™ Conversion System are sonically amazing.

The Type IV™ Conversion System is currently featured in dbx’s Quantum and DDP processors. It
can also be added to select dbx processors via optional digital output cards--: the 504X (for the
1086 and Silver Series processors) and the 704X (for Blue Series processors).

dbx Digital - The Best of Both Worlds

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The dbx Blue Series processors represent the ultimate in quality and performance. Only the finest components were even considered
for these powerhouses. Blue Series processors feature 0.1% and 1% metal film resistors, temperature-stable polypropylene capacitors,
board-to-board connectors with gold-palladium-nickel contacts, Jensen® transformers, gold-plated Neutrik® XLRs, rare earth magnet
relays (with gold contacts in a hermetically sealed nitrogen environment), military-grade glass epoxy circuit boards, striking blue front
panels machined from 1/4" aircraft aluminum, hand-crafted solid aluminum knobs, individually-mounted LEDs in machined stainless
steel housings, custom VU meters with peak indicators, and heavy-gauge chassis. Needless to say, with absolute top-flight compo­nents like these, it’s no surprise that the sounds coming out of these units are simply riveting.

“After I used the 160SL
once, I knew I wouldn’t
consider doing another
project without it. It’s in
the top spot in my rack.
dbx has done it again.”

Humberto Gatica

Photo taken at Westlake Studio D

BLUE SERIES

160SL

COMPRESSOR/LIMITER

4

Coolio producer/engineer
Doug Rachide

As the authority in VCA and compressor design and

engineering,we continually strive to set new standards and

lead the way in technological advancements.This quest led

us to the development of our dual proprietary
modules. This state-of-the-art improvement on dbx’s original Blackmer­designed decilinear VCA, boasts an unheard-of 127dB dynamic range and
ultra-low distortion of .007% THD. Encased in a specially designed, alu­minum-zinc housing (for its shielding and thermal characteristics),the V8™
maintains superior performance even in harsh environments.At the heart
of any dynamics processor is its VCA. The dbx
Compressor/Limiter sets a higher standard in that it features dual propri­etary V8™ VCA modules.

160SL

V8™ VCA

As far as features, the 160SL includes technology,
which makes it easier than ever to dial-in exact attack and release settings.
In addition, it features

,

limiting, and the venerable dbx Auto mode, which
allows you to leave maximum preferred settings in Manual mode while let­ting Auto mode handle the majority of the work.The 160SL also includes all
of the great features that dbx is known for such as the
mode, and hard knee threshold characteristics,made standard by the classic
165A. By taking full advantage of the most technologically superior compo­nents and features available today, the Blue Series is setting new standards,
and the 160SL is the most advanced compressor in the world.

OverEasy®

PeakStopPlus™

True RMS Power Summing™

AutoVelocity™

Besides the precise componentry that is standard in the Blue Series,the Pr ecision
Mic Preamp includes a host of top-notch features.At the beginning of these features is another
innovation from dbx- our transformer-coupled, discrete-design, premium input stage utilizing
our proprietary . This dbx exclusive provides a com­pletely transparent gain stage-void of any added coloring, and an amazing dynamic range of
130dB.In addition to having +48V phantom power and a phase re verse switch, the 786 features
the dbx patent pending Spectrum equalizer circuit with frequency cut and boost up to 40kHz.
The Spectrum circuit is unique in that it enhances the high-frequency spectral content of signals
while maintaining phase integrity.The Spectrum’s Detail control allows you to vary the amount
of high-frequency shelving boost at the frequency determined by the Spectrum control. The
combination of the Spectrum and Detail controls allows pristine high-frequency adjustments
without the added “hash” of traditional high-frequency EQ topologies. Other features include
an 11-position coarse gain switch that sets the gain between +10 and +60dB. A fine gain con­trol varies between -5 and +5dB.Levels may be monitored on VU meters with adjustable ref­erence levels.If that weren’t enough,the 786 also incorporates our patented high output drive
circuit,which is capable of driving 1000 feet of Belden 8451 cable terminated with a 600 ohm
load, while maintaining maximum drive levels exceeding +30 dBm.The 786 was designed with
enough vision and foresight to exceed your expectations.

M8™ Mic Preamp Module

786

The 704X digital output card allows the dbx Blue
Series processors to take advantage of dbx’s amazing Type
IV™ Conversion System. Its features include 44.1kHz,
48kHz,88.2kHz,and 96kHz sample rates; 16-,20-, or 24-bit
word length; TPDF or SNR

2

noise shaping, dithering at 16
or 20 bits; synchronized outputs with low-jitter, phase­locked loops;selectable noise-shaping algorithms;and gold­plated AES/EBU and S/PDIF output jacks.

704X Digital Output Card

5

BLUE SERIES

786

PRECISION MIC PRE

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The Silver Series’ premium 12AU7 vacuum tubes

are hand-selected for their ideal gain

matching, distortion, microphonics, and

drive characteristics. Pair this meticulous

effort with the optional dbx Type IV™

Conversion System (available in the 504X digital

output card) and you can transfer the tantalizing

essence of tube processing directly to the digital

domain–without leaving the box! Truly, the 566,

576, and 586 combine unmatched sonic charac-

ter with some of the greatest digital versatility

available today.

6

While dbx prides itself on technological innovation, we also realize nothing can infuse your music with mag­ical warmth and character only a real vacuum tube will provide. Nearly all the great recordings through­out history have had life breathed into them by this irreplaceable device. With this in mind, we’re proud to
introduce the two newest additions to the Silver Series: the 566 Vacuum Tube Compressor and the 576
Vacuum Tube Preamp/Compressor.

In the dbx tradition of excellence, the includes two 12AU7 vacuum tubes (one for each channel),

compression (with auto attack and release),and limiting. Add to that full sidechain func­tionality, including sidechain monitor and our unique Contour function that allows low frequency material to pass through
the threshold without triggering unmusical compression. The 566 also has line/instrument and mic inputs, as well as custom­designed analog VU meters that monitor tube level,gain reduction, or output levels. Besides this impressive list of standard
features,the 566 also has extras like a sidechain insert loop and .

In addition to featuring the famous Silver Series tube wizardry, the is generously appointed with all the features
you could possibly want in a preamp/compressor. To start off, it includes custom-designed analog VU meters that monitor
tube level, insert path, gain reduction, or output levels.Its compressor boasts our classic circuitry (with
auto attack and release) and full sidechain functionality, including sidechain monitor and our unique Contour function that
allows low frequency material to pass through the thr eshold without triggering unm usical compr ession. The preamp features
+48V phantom power, a 20dB pad, a phase invert switch,and a low cut filter. The 576 also includes extras like a hardwire
bypassable three-band EQ (with sweepable mid and selectable mid Q),an insert loop, our limiting tech­nology,and the ability to send the preamp signal directly to the compressor.

PeakPlus™

OverEasy®

576

True RMS Power Summing™

PeakPlus™OverEasy®

566

SILVER SERIES

566 576 586

The 504X digital output card allows dbx Silver Series processors (i.e.,the 566,576,and 586)
and the 1086 mic preamp/processor to take advantage of our amazing Type IV™ Conversion
System. Its features include 44.1kHz and 48kHz sample rates; 16-, 20-, or 24-bit word length;
TPDF or SNR

2

noise shaping, dithering at 16 or 20 bits; synchronized inputs and outputs with

low-jitter, phase-locked loops;and gold-plated AES/EBU and S/PDIF output jacks.

504X Digital Output Card

This is the one that started it all. The two-channel vacuum tube pre­amp was introduced as the flagship model of the Silver Series in 1998.It boasts many
of the same features as the 566 and 576,such as custom-designed analog VU meters
for monitoring tube level,insert path,or output levels;+48V phantom pow er;a 20dB
pad;a phase invert switch;and a low cut filter. With line/instrument and mic inputs,
the 586 is versatile enough to use with any source de vice.To this comprehensive list
of standard features we’ve added extras like a hardwire bypassable,three-band EQ
(with sweepable mids and selectable mid Q); an insert loop; and our

circuitry.

PeakPlus™

586

SILVER SERIES

566 576 586

7

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With a proud heritage extending back to our famous 20 and 30 Series equalizers,the 1215 sports two channels of 15 2/3
octave bands; ISO frequency centers; a switchable boost/cut range between ±6dB and ±15dB; a +12dB input gain range; an
18dB/octave 40Hz Bessel low-cut filter;balanced inputs and outputs; and XLR, Barrier Strip,and 1/4" TRS connectors.

The 1231 shares the same heritage as the 1215, but includes two 31 1/3 octave band channels;ISO frequency centers; a
switchable boost/cut range between ±6dB and ±15dB;a +12dB input gain range; an 18dB/octave 40Hz Bessel low-cut filter; bal­anced inputs and outputs;and XLR, Barrier Strip,and 1/4" TRS connectors.

1231 Graphic Equalizer

1215 Graphic Equalizer

With the dbx 12 Series the goal was simple: build the
best bang-for-the-buck, no-nonsense equalizers on the
market. These price/performance champs are designed
for down-to-earth sound shapers who don’t need fea­ture-laden units from the 20 or 30 Series, but who
absolutely demand a pristine signal path and consistent
performance in an equalizer. Both the 1215 and 1231
include superb features such as chassis/signal ground­lift capability, internal power supply transformers, and
power-off hardwire relay bypasses (with 2-second
power-up delays). The 12 Series is simply the last word
in affordable, high quality EQs.

12 SERIES

EQs

1215 1231

8

20 SERIES 30 SERIES

EQs

9

Since their introduction, the 20 Series equalizers have
become crucial links in the sound systems of countless
professionals all over the world. Speaking from a value
perspective, the 20 Series EQs offer an unequalled feature
set. The crowning feature of each model in the 20 Series
is our Type III™ Noise Reduction, which enables you to
increase signal-to-noise ratios by up to 20dB. With Type
III™, the 20 Series can significantly improve the noise
specs for almost any sound system. Add our patented
PeakPlus™ limiter topology; XLR, 1/4", and Barrier strip
inputs and outputs; durable 45mm nylon sliders; a +12dB
input gain range; and informative, four-step LED ladders
to the mix and you’ve got three powerful tools that will
let you use your system with confidence.

If you’ve been to a concert, an amusement park, or a pro­fessional sporting event, chances are you’ve heard the 30
Series in action. Here’s why they’re so popular. Standard
features on all 30 Series equalizers include ISO standard­center, constant Q frequency bands; variable high-pass
and switchable low-pass 12dB/octave filters; electronical­ly balanced inputs; servo-balanced outputs; XLR, Barrier
strip, and 1/4" TRS connectors; switchable 6 or 12dB
boost/cut; -12/+15dB of input gain; passive bypass
mode; eight-segment LED headroom bar graphs; chassis
ground lift capability; cold-rolled steel chassis; and
Toroidal power supply transformers. The dbx 30 Series
EQs are the only choice for serious sound reinforcement.

30 Series EQs

20 Series EQs

Graphic Equalizer/Limiter with Type III™

Noise Reduction -The 2031 is a single-channel, 31-

band, 1/3-octave equalizer that includes all the features
listed above and fills two standard rackspaces.

Graphic Equalizer/Limiter with Type III™

Noise Reduction - The 2215 is a two-channel,15-band,

2/3-octave equalizer that includes all the features listed
above and fills two standard rackspaces.

Graphic Equalizer/Limiter with Type III™

Noise Reduction - The 2231 is a two-channel,31-band,

1/3-octave equalizer that includes all the features listed
above and fills three standard rackspaces.

Graphic Equalizer - The 3031 is a single-

channel, 31-band, 1/3-octave equalizer that includes all
the features listed above and fills two standard rack­spaces.

Graphic Equalizer - The 3215 is a two-

channel, 15-band, 2/3-octave equalizer that includes all
the features listed above and fills two standard rack­spaces.

Graphic Equalizer - The 3231 is a two-

channel, 31-band, 1/3-octave equalizer that includes all
the features listed above and fills three standard rack­spaces.

3231L

3215

3031

2231

2215

2031

The crowning feature of 10

Series processors is dbx’s latest-

generation VCA, the V2™. The

V2™ remains true to the heritage

of our legendary, David

Blackmer-designed voltage-con-

trolled amplifiers, keeping

everything that made them so

amazing but improving them in

some significant areas. The

biggest improvements are

decreased distortion, lower

noise, and a wider dynamic

range, which translates to clean-

er, more musical, dynamic, and

open-sounding mixes.

10 SERIES

1046 1066

COMPRESSORS

10

In today’s recording and sound reinforcement environments,
there’s a huge need for multiple channels of high-quality,easy-to-use
compression. The dbx 1046 is here to fill that daunting role. Each of
the four channels allows you to individually select between our clas­sic or hard knee compression,as well as connect
each channel for separate purposes. Additionally, our

circuitry, the most comprehensive limiting
technology on the market, frees you from worrying about your
speakers and allows you to keep your mind on the music. For easy
interfacing with other devices, each of the 1046’s channels also uti­lizes balanced, gold-plated XLR and 1/4" inputs and outputs and
switchable +4dBu or -10dBV operating levels.The 1046 incorporates
our standard-setting designs, state-of-the-art manufacturing tech­niques,and of course , our sought-after sound quality.

Whether you’re looking for “heavy” compression or subtle gain
leveling,the dbx stereo compressor/limiter/gate with selectable hard
knee or compression, is ideal.For ease of use, the
1066’ s compr essor section allows y ou to set attack and r elease times
manually (for more customized effects) or automatically using our

convenient Auto Mode. In addition, our famous Contour switch
allows you to smoothly compress entire mixes while preventing low
frequencies from punching holes in the overall mix.

The 1066’s gate section enables you to clean up unwanted fre­quencies or mic bleed using its frequency-dependent gain control and
the Side Chain External button (SC Ext). With the Side Chain
Monitor button (SC Mon) and an equalizer, you can select which fre­quencies will trigger the gate. For overall speaker protection, our
innovative technology prevents unwanted tran­sients from blowing your drivers and minimizes the distortion com­mon to many other “hard” limiters.

Whether in studios,broadcast facilities,or on the road,the 1066
is designed for intuitive operation.Besides enabling you to eliminate
unwanted signals, control signal gain, and guard your overall mix, it
allows you to do so in dual-mono or stereo mode. This, combined
with selectable input and output metering, aids you in matching lev­els and maximizing signal-to-noise ratio.But we didn’t stop there.We
replaced the frustratingly vague LEDs found on most units,with our
patented technology, making it easy to read and a
snap to operate.All these features,plus meticulous component selec­tion,rigorous testing,and, most importantly,majestic sound,combine
to make the dbx 1066 one of the finest processors on the market.

LightPipe™

PeakStopPlus™

OverEasy®

1066 Stereo Compressor/Limiter/Gate

PeakStopPlus™

OverEasy®

1046 Quad Compressor/Limiter

160A 166XL 266XL

COMPRESSORS

11

Since its introduction in the mid-70’s, the dbx 160 series
has been the world’s most popular line of audio compressors.
After the classic 160 (still a mainstay in many world class stu­dios), came the 165, then the 160X and the 160XT–the two
models that really set the world on its ear. The is the
most recent addition to the legendary line of 160 compres­sors/limiters and flaunts the same classic sound,easy setup, and
no-compromise metering. With such time-tested features as
switchable and hard knee compression,
extremely wide threshold ranges, and controls for ratio and
output gain,the dbx 160A is up to any task.

The 160A also includes true RMS level detection providing
the most transparent dynamics processing available–from
smooth, subtle compression to “brick wall” peak limiting. The
160A is fully compatible with +4/-10dB and balanced/unbal­anced systems.Its electronically balanced output stage is an out­standing driver for long cable runs (an output transformer is
optional). Its 19-segment, switchable input/output LED meter
can be easily calibrated to any operating level,while its 12-seg­ment gain reduction LEDs provide precise analysis at a glance.
With its unique “INFINITY +” inverse-compression mode, the
160A actually decreases the audio output level belo w unity gain
when the input exceeds threshold,which can be a real lifesaver
when you need to control ov erbearing v ocal choruses and con-

OverEasy®

160A

trol runaway house mixes. Using the detector input and an equalizer, your can apply de-essing to sibilant vocals or selective­ly tame booming notes from an acoustic guitar or a bass.You can even stereo-couple tw o 160As to pr ocess a ster eo mix with­out shifting the left/right image.Its musical sound, easy operation, and unequaled versatility made the original dbx 160 a world
standard.

While owing much to the revered 160A, the takes advantage of advanced gate circuitry using a new pro­gram-dependent timing algorithm to produce ultra-smooth release characteristics—even with complex signals like voice or
reverb deca ys.The result is an extra-wide thr eshold range and superior gating performance.With auto attack and release con­trols and separate precision LED displays for gain reduction, compression threshold,and gate threshold,the 166XL allows for
quick and accurate setup.Additionally,in Stereo Couple mode,Channel 1’ s controls become master controls,causing Channel
2’s controls to mimic their every move.Using our feature,the Stereo Couple mode
provides you with a r ock solid stereo image—even with high amounts of compression.The 166XL also makes advanced appli­cations a breeze with full sidechain functionality, the ability to use either hard knee or compression algo­rithms, and the venerable limiter. Designed and manufactured in the
USA, the dbx 166XL processor puts a completely new level of compressor/gate performance at a cost within ever yone’s
reach.

While there’s a slew of compressors out there, most of them don’t compress musically. Likewise, the average gate
devours decay, and ravages reverb tails. However, the puts pleasing compression and smooth gating within reach
everyone. The classic dbx compression delivers anything from mellow “leveling,” to, aggressive peak limiting. In addition, the
266XL’s circuitry continuously adjusts attack and release settings in real time in order to optimally
match program material.The advanced gating circuitry in the 266XL uses a program-dependent timing algorithm to produce
ultra-smooth release characteristics—even with complex signals.Thanks to the dynamic range of the dbx VCA,the 266XL can
provide unsurpassable gating for any circumstance .

The 266XL also includes separate LED ladders measuring gain reduction,compression threshold,and gate thr eshold mak­ing the 266XL easy and intuitive to use.

AutoDynamic™

266XL

PeakStop®

OverEasy®

True RMS Power Summing™

166XL

The mic preamp/processor features compression, de-essing, enhancing, expanding, and gat­ing, all in an incredibly pure signal path. Besides these features, the 286A boasts a wide-ranging input gain control (+10 to
+60dB), switchable +48V phantom power, and an 80Hz high-pass filter. Not to mention, its preamp and five processors can
be used independently or in any combination.The 286A enables you to easily and transparently smooth acoustic guitar tracks
or create authoritative rock vocal tracks.The frequency-tunable de-esser can remove vocal sibilance and high frequency dis­tortion.In addition, adding sparkle and crispness to your tracks is a snap with the enhancer’s HF Detail control.The LF Detail
control adds fullness and depth to vocals and bass instruments,while helping to clean up muddy low-midrange frequencies.
Further,the expander/gate’s separate threshold and ratio controls allow you to subtly reduce headphone leakage or radical­ly gate noisy guitar amps. The dbx 286A’s full complement of metering and status LEDs visually guides you in achieving the
right sound. Its floating, balanced XLR mic input accepts balanced or unbalanced inputs, a 1⁄4" TRS phone jack accepts both
balanced and unbalanced line signals,and an inser t jack separates the 286A’s preamp and signal processing sections for flexi­ble routing options.With the 286A’s quality and affordability, now there’s no excuse for compromising your mic’d tracks.

The dbx Subharmonic Synthesizer has been in the arsenals of DJs, nightclubs,and movie theater operators
for over 20 years now.What makes the 120XP so devastatingly deep,is Wav ef orm Modeled™ bass fr equencies that ar e exact­ly one octave belo w the original bass frequencies.While the concept sounds simple enough,the seismic activity produced must
be heard–or, rather, felt–to be believed.Unlike other attempts at bass synthesis,the 120XP’s patented subharmonic synthesis
process produces smooth,musical low frequencies that don’t interfere with mid- or high-band information–even at maximum

120XP

OverEasy®

286A

286A PB-48 120XP

12

levels.The result is unmatched low-end punch at levels that won’t
destroy your system. In fact, the 120XP is optimized to allow
audio professionals to get the most out of their high-performance,
low frequency speaker systems, and includes both a subwoofer
output (with its own level control) and main outputs that can be
configured as either full-range (including synthesis) or high frequen­cy-only .

The patchbay features 48 front panel and 48 rear
panel patch points, with 24 user-adjustable board assemblies that
can be configured–without soldering or wire cutting–for half-nor­malled or de-normalled operation.Rugged and noise-free, the PB­48 is designed to serve all your patchbay needs. Whether you
want clear and easy access to your mixer and studio gear,reduced
wear on your equipment’s jacks, or the ability to quickly re-route
devices within your setup, the PB48’s balanced TRS and unbal­anced TS 1/4" plugs pave the way.

PB48

223 234

CROSSOVERS

Crossovers may do nothing more than direct fre­quencies, but the thought that went into the 223 and 234 is what really sets the dbx
crossovers above the rest. The 223 and 234 both feature differentially balanced TRS 1/4"
inputs and outputs. To prevent accidental changes of certain settings during performance
(which could be disastrous), several of the 223 and 234’s controls are located on their rear
panels. On the 223, the first of these selects between stereo two-way or mono three-way
operation, while on the 234 it selects between stereo two-way, stereo three-way, or mono
four-way operation (the selected mode is always visible via two green front panel LEDs).Also
located on the back panels are switches that allow you to individually select crossover fre­quency ranges for both channels (again,the front panels feature green LEDs to indicate when
the back panel x10 switch is activated).The rear panels also allows you to mono-sum the low
frequency outs. Both crossovers feature Linkwitz-Riley 24dB/octave filters–the professional
standard.Each of the units’ channels has a +12dB input gain control and a recessed 40 Hz low­cut, high-pass filter for removing low frequency rumble. Both the low and high outputs on
each channel have phase reverse switches (reconfigurable to operate as mute switches) and
gain controls ranging from -∞ to +6 dB, allowing level matching and muting of individual out­puts. The 223 and 234 give you great performance, the features you expect from profession­al crossovers,and the reassurance that you’re buying from the company that has been mak­ing the world's finest audio gear for over 25 years.

223 and 234 Crossovers

The 223XL and 234XL Crossovers are the XLR-only versions.

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*Quotes followed by an asterisk are from a Quantum review, written by Glenn Meadows, appearing in the September 1999 issue of Audio Media and are reprinted here
with permission. Visit their web site at: http://www.audiomedia.com/ for the full review.

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18-1535-A

A Harman International Company

dbx Professional Products • 8760 South Sandy Parkway • Sandy UT 84070 • Phone [phone] • Fax [phone] • Int’l Fax [phone]

email: [e-mail] • URL: http://www.dbxpro.com