INSTALL STUDIO TOUR
FULL LINE
HISTORY
It began more 35 years ago with the vision
of a single man to create a better way to record
audio and that vision has continued into a new
millennium. The late David Blackmer, who is uni
versally considered to be the father of modern
Compression, had a quest to improve the dynamic
range of analog recordings using decibel expansion.
This quest produced the VCA and RMS detector
which taken together have changed the sonic land
scape and made possible so many of our current
audio technologies. In 1971, Mr. Blackmer founded
dbx® Professional Products which has collectively
produced over 35 patents that continue to forge
and reshape the landscape in the Live Sound, Stu
dio Recording, and Installed Sound professional
audio markets today. Our award-winning team of
TABLE OF CONTENTS
DRIVERACK® & IEM
DriveRack 4800
DriveRack 4820 . . . . . . . . . . . . . . . . . . . . . . . 4
DriveRack 480 . . . . . . . . . . . . . . . . . . . . . . . . 5
DriveRack 481 . . . . . . . . . . . . . . . . . . . . . . . . 5
DriveRack 482 . . . . . . . . . . . . . . . . . . . . . . . . 5
DriveRack 442 . . . . . . . . . . . . . . . . . . . . . . . . 5
DriveRack 480R . . . . . . . . . . . . . . . . . . . . . . . 5
DriveRack 260 . . . . . . . . . . . . . . . . . . . . . . . . 6
DriveRack 220i. . . . . . . . . . . . . . . . . . . . . . . . 7
DriveRack Zone Controllers. . . . . . . . . . . . . 7
DriveRack PA . . . . . . . . . . . . . . . . . . . . . . . . . 8
IEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
ZonePRO
ZonePRO™ 640/641. . . . . . . . . . . . . . . . . . 10
ZonePRO™ 1260/1261. . . . . . . . . . . . . . . . 11
BLUE /PURPLE SERIES - QUANTUM II
786 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
704X. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Quantum II. . . . . . . . . . . . . . . . . . . . . . . . . . 13
160SL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
162SL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
. . . . . . . . . . . . . . . . . . . . . . . 4
™
designers and engineers have embraced Mr. Black
mer’s passion for audio purity with a vengeance,
and continue to design and build the precise and
hyper-accurate tools necessary for today’s audio
production. We at dbx Professional Products ap
ply the paradigm that while you can’t be everything
to everyone, you can make the best tools for each
individual application. From our rock-solid Analog
products like the 10-Series EQs and Compressors,
to our cutting-edge Performance and Commercial
Audio products the DriveRack and ZonePRO lines,
we provide the tools to accommodate all of your
audio needs. This brochure is designed to help you
navigate through our many product solutions and
find the one that meets your exact needs.
EQs
iEQ-15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
iEQ-31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2031 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1215 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
1231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
131 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
215 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
SILVER SERIES
386 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
376 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
DYNAMICS
1046 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
1066 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
1074 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
160A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
166XL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
266XL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
CROSSOVERS
223 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
223XL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
234 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
234XL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
OTHER
AFS 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
120A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
286A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
PB-48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
PRODUCT SPECS. . . . . . . . . . . . . . . . . . 26-30
-
-
Page
Page
DriveRack® 480 481 482 442 480R
Page
Page
Complete Equalization & Loudspeaker Management System
DriveRack® 4800 DriveRack® 4820
Complete Equalization & Loudspeaker Management System
Designed to provide incredible flexibility, sonic excellence and
intuitive control for performance applications, the DriveRack
4800 is the new flagship of the hugely successful DriveRack family.
From the powerful 96 kHz DSP engine and standard analog and
digital I/O, to the QVGA display and multiple control surfaces,
the 4800 provides all the processing, flexibility and control neces
sary for both installation and live use. The menu-based Wizard
function enhances its capability by making the DriveRack 4800
easier to use providing a menu based setup procedure including
system configuration, Auto-EQ, and an Advanced Feedback Sup
™
pression™ (AFS
FLEXIBILITY, SIMPLICITY
AND SONIC PERFECTION
) Wizard.
The DriveRack 4800 is the next generation of the famous
®
DriveRack family, and like its predecessor it is engineered to
provide “Everything you need between the mixer and the power
amps”. In keeping with this philosophy the 4800 includes four in
puts and eight outputs with both analog and digital connectivity; a
-
CobraNet option rounds it out offering greater flexibility for large
installations. The 96 kHz processing engine is capable of offering
insert processing functions to customize the processing path for
your application, in addition to the standard system processing
-
functions all with extremely low latency and extended frequency
response. From Signal Routing, EQ, and Bandpass Filters, to clas
®
Dynamics and Feedback Suppression all the processing
sic dbx
is available and with the sonic excellence that you would expect
from the world’s leading system processing manufacturer. With
all this processing power available, control is of paramount
importance. The DriveRack provides a full color dis
play to speed manual operation; this combined with
intuitive front panel controls, an easy to use GUI and
optional wall panel controllers means that whether
your application is tour sound or installation, the
DriveRack 4800 has what it takes.
At the heart of the DriveRack® 400 Series is the 480. The
480 includes 4 inputs and 8 outputs which can be tailored for any
configuration. By including every form of processing necessary to
drive the signal from the mixer to the power amps, such as pre-
-
-
-
crossover EQ, notch filters, speaker delay, multiple crossovers,
speaker compensation equalizer, driver alignment delay, and com-
pression/limiting, the 480 is truly the only box you’ll need for
any sound system application. The 480 is fully programmable
from the front panel, with the 480R remote control, or through
a computer via the GUI port.
The 481 and 482 provide all the same functionality and fea-
tures of the 480 with a streamlined tamper-proof front panel.
They both incorporate 4 inputs and 8 outputs with Euroblock
connectors on the 481 and XLRs on the 482. The 442 is a 4 input
4 output version of the 482 designed specifically for monitor ap-
plications. All programming functions can be performed through
the 480, the 480R, or via the Windows GUI. Up to 99 480s, 481s,
482s and 442s can be used together in the same network making
the possibilities nearly unlimited.
The 480R is the master remote controller for the entire
DriveRack 400 Series. It is capable of controlling and program-
ming multiple 480, 481, 482, and 442s units. It features 31 flying
faders which automatically recall the Graphic EQ settings of any
unit on the network. The 480R can simultaneously control mul-
tiple Drive Racks, allowing global EQ adjustments to be made
quickly. Thirty-two instant access buttons can be programmed to
immediately recall the parameter screens that you use the most.
The large custom display mirrors the display of the selected unit,
and the 480R also includes its own real time analyzer. The 480R
can be stationed up to 500 feet from the master 480 making it
the perfect choice for front of house or monitor mixing.
DriveRack® 260
Page
Page
DriveRack® 220i
Complete Equalization & Loudspeaker Control System
The DriveRack® 260 was designed to provide state-of-the-
art signal processing, while maintaining a simple and intuitive con
trol interface. This goal has been realized. From the powerful DSP
modules to the multiple control surfaces, the 260 provides all the
processing and control necessary for both installation and live use.
Additionally, the Wizard function enables any user to quickly set
up and use the 260 to its full potential by streamlining the setup
process and providing a menu-based setup procedure that includes
system setup and configuration, Auto-EQ, and Advanced Feedback
™
Suppression (AFS
The DriveRack 260 is based on the same unparalleled design
philosophy as the other products in the DriveRack family, namely,
to provide “Everything you need between the mixer and the pow
er amps.” In keeping with that philosophy, the 260 offers 2 inputs
and 6 outputs on XLR connectors. Each input channel provides a
choice of EQ, either a 9-band Parametric or a 28-band Graphic EQ.
Each input channel also boasts two selectable insert processors
with a selection of Notch Filtering, classic dbx
Gain Control, Sub-Harmonic Synthesis, or our own patent-pending
Advanced Feedback Suppression (AFS
offers a configurable Delay with 2.7 seconds of total delay time.
The 260 provides full Bandpass and Crossover filtering and routing
including Bessel, Butterworth and Linkwitz-Riley topologies. There
is parametric EQ available on each output as well as dbx PeakStop
Plus™ Limiting. The 260 provides a full-time RTA for live sound
applications, while contractors will appreciate its control inputs for
wall-panel logic and volume control.
) setup.
®
Compression, Auto
™
). The DriveRack 260 also
System Processor with Advanced Feedback Supression
Designed to provide all the necessary tools for installations,
-
-
ZC1
Programmable
Volume
Control
The Zone Controllers use analog DC voltages to provide
logic control ranging from Volume and Mute control to Contact
-
Closure Program selection and can be used with the DriveRack
260 and 220i. Wired with readily available and affordable CAT5
cable with universally accepted RJ-45 connectors, the ZC Zone
Controllers offer simple yet elegant solutions to the contractor.
ZC2
Programmable
Volume &
Mute
ZC3
Programmable
Selection
ZC4
Program
Selection
ZCBOB
“home-run” or
parallel wiring
the DriveRack
plement of processing features and Mic/Line inputs, the DriveRack
220i can provide both system and microphone processing.
Processing in the 220i includes an input mixer and input
Graphic and Parametric EQ. Two insert positions on both inputs
provide a selection of processing functions including our new pat
ent-pending Advanced Feedback Suppression (AFS
Auto Gain Control, De-Essing, Sub-Harmonic Synthesis, Ducking,
Gating, Compression, and Notch Filters. A Matrix Mixer allows
for both routing and mixing capabilities. Each output provides
Bandpass Filters, Parametric EQ, Delay, and a Dynamics insert pro
cessor with selections including Auto Gain Control, Compressor,
Noise Gate, and Limiter.
The DriveRack 220i is piloted from the intuitive DriveWare
GUI that offers both Configuration and Control of the process
ing modules. Modules can be accessed, edited and saved as part
of programs. Processing modules can be set up as mono, or, un
like some processors, linked between the channels for true stereo
processing. Once a program or programs have been stored they
can be loaded from either the front panel or from wall mounted
Zone Controllers. Zone Controllers can also be used for output
muting or adjusting output volumes.
®
220i is truly a one stop solution. With a full com-
™
) algorithm,
-
-
-
-
DriveRack® PA
Page
Page
Complete Equalization & Loudspeaker Control System
IEM
™
In Ear Monitor Processor
Drive your PA to a whole new level of performance with the DriveR-
ack® PA Complete Equalization & Loudspeaker Control System. The Driv-
eRack PA represents a complete integration of the key elements that help
ensure optimal loudspeaker system management in PA-specific applica-
tions. Capitalizing on the legendary 480 DriveRack technology, the DriveR-
ack PA is able to provide its user with top-tier, pro-level loudspeaker man-
agement specifications, yet still remain appealing to the budget-conscious
audiophile who requires a tried and true utilitarian workhorse. With its
all-inclusive, no-compromise design, the DriveRack PA has been system-
atically developed and designed to grow with your system needs for years
to come by providing state-of-the-art signal processing, while utilizing a
simple and intuitive user interface. Purpose and vision have been achieved
by offering two independent channels of processing power with a linkable
28-Band Graphic equalizer, industry-standard dbx stereo compressor
module, feedback eliminator and the 120A Subharmonic Synthesizer on
the input, with a six channel output system that includes parametric EQs,
and Peak Plus™ limiters (which are used to provide protection against
speaker blowouts) and alignment delay. These features, combined with the
Wizard setup system, also include JBL® speaker tunings and Crown®
Power Amp settings and represents a methodical design that is
guaranteed to deliver optimal, all-inclusive processing in a completely
scalable system.
The optional RTA-M real time audio an-
alyzing mic is the perfect accessory tool for
the DriveRack PA and 260. Used in conjunc-
tion with the System Setup Wizard, the RTA-
M is ideal for optimizing the sound quality of
even the most difficult of acoustic environ-
ments.
HEAR NO EVIL.
The IEM™ In-Ear Monitor Processor is the ideal tool for fine-tuning
mix monitoring for in-ear monitoring devices. Not only does the IEM pro-
vide the legendary dbx effects in the digital domain, such as 4-band stereo
compression, PeakStop™ limiting and 5-band parametric EQ, but the IEM
also includes stereo adjust, dbx proprietary Type IV™ conversion system,
and for good measure, we have even raised the playing field by including
custom reverb algorithms using industry-standard Lexicon® reverb tech-
nology. The IEM was designed with the simple purpose and vision of en-
hancing the sonic quality of all in-ear monitor applications, while providing
the necessary audio level protection that artists and engineers require. The
design team at dbx has achieved this vision by building a unit that offers ef-
fects including: 4-band stereo compressor with gating and limiting, 5-Band
Parametric EQ, PeakStop™ limiting, and Stereo adjust. Additionally, the IEM
has been methodically designed with an intuitive user front panel which
provides instant access to all of the effects within the unit at the push of a
button. The IEM also provides the user with a large custom display which
clearly shows all operational information of the unit in a logical manner.
The IEM is a unit that is certain to take In-Ear Monitor processing to the
next level.
THE CURE FOR THE COMMON PA.
ZonePRO™ 640/641
Page 10
Page 11
Digital Zone Processors
ZonePRO™ 1260/1261
Digital Zone Processors
™
ZonePRO
The dbx® ZonePRO™ 640 and 641 products were designed to provide flexible pro-
grammable zone processing for Background Music and Paging applications.
With six inputs and four outputs the ZonePRO products are incredibly flexible, al-
lowing any input to be a primary or priority override source, and two inputs designated
as paging sources. Outputs are also highly configurable with combinations including mono
and stereo zones, and zones with subwoofers.
Besides routing, the 640 and 641 provide every tool required for maximizing system
performance: from paging microphone functions like Gating and Feedback Suppression,
to system processing such as EQ, Crossovers, Dynamics, and Delay. With these powerful
DSP processes comes a Wizard functions that speeds configuration and system setup.
The ZonePRO products offer full control from the computer-controlled GUI. Pro-
grammable end-user control is available from the front panel of the 640 and the ZC series
wall panels.
From signal routing to control to processing, the ZonePRO 640 and 641 are com-
plete Background Music and Paging solutions.
COMPLETE
SOLUTION
™
ZonePRO
With 12 inputs and 6 outputs and Ethernet control, the dbx ZonePro™
1260 and 1261 provide broader matrixing of inputs and outputs for even larger
applications. Designed to offer superior sonic performance and flexibility, the
1260/1261 deliver the highest quality tools available. The ZonePro products of-
fer industry standard Phoenix connectors for balanced signals and RCA connec-
tors for interfacing with consumer equipment often used in commercial applica-
tions; there is also a simple analog input buss that allows inputs to be sent from
one unit to the next for unit and job scalability.
The 1260 and 1261 provide every necessary processing tool, from the in-
put processing like gain control and EQ available on all inputs to highly sophis-
ticated and specific functions such as selectable paging microphone processing
including Gating, De-Essing, Auto Gain Control, Compression and Feedback
Suppression. The heart of the ZonePro products is the Routing module that
provides of course Primary Source Selection but also Source Ducking for Paging
and Priority Override. The outputs also offer a wealth of processing designed
for commercial applications like our patent-pending AutoWarmth® function that
was co-developed with JBL to provide natural low frequency extension at any
signal level. Each output also offers EQ, Bandpass and Crossover filters, Limiting
and Delay for system optimization. With the ZonePro™ every tool is at your
disposal to maximize the response of your system.
ZC1
Programmable
Volume Control
ZCBOB
“home-run” or
parallel wiring
ZC9
Source
Selection
ZC2
Programmable
Volume & Mute
ZC6
Programmable
Volume Control
ZCFIRE
Fire Safety
Interface
ZC3
Programmable
Selection
ZC7
Programmable
Push-To-Talk
Page Assignment
ZC4
Program
Selection
ZC8
Programmable
Volume and
Source Select
786
Page 1
Page 1
Precision Mic Pre
The craftsmanship of the 786 is as
stunning as the engineering is innovative.
The 786 combines the best preamplifier
features and an absolutely pristine audio
path. In addition to having +48V phantom
power as well as a phase reverse switch,
the 786 also features a patent-pending EQ
circuit called “spectrum” with frequency
cut and boost up to 40kHz. An 11-position
coarse gain switch sets the gain between
+10 and +60dB, while the fine gain control
varies between -3 and +3dB. Levels may be
monitored on peak-program VU meters
with adjustable reference levels. The signal
path consists of a transformer-coupled, dis-
crete-design premium input stage, utilizing
the proprietary dbx® M8™ Mic Pre-Amp
Module. The “Spectrum” control is a unique variable high-frequency equalization cir-
cuit employed in the mic pre-amp which enhances the high frequency spectral content
of the signal, while continuing to maintain phase integrity. The “Detail” control var-
ies the amount of high frequency shelving boost at the frequency determined by the
Spectrum control. The combination of the Spectrum and Detail controls allow pristine
high frequency equalization adjustments without the added “hash” of traditional high-
frequency EQ topologies. Premium active electronics, precision 0.1% and 1% metal film
resistors, great sounding temperature stable polypropylene capacitors, high-reliability
board-to-board connectors with gold-palladium-nickel contacts, Jensen® transformers,
gold plated Neutrik® XLRs, rare earth magnet relays with gold contacts, contribute to
the most technologically advanced preamplifier in the world.
704X
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 SNR2 noise shaping, dithering at
16 or 20 bits; synchronized outputs with low-jitter, phase-
locked loops; selectable noise-shaping algorithms; and gold-
plated AES/EBU and S/PDIF output jacks.
Digital Output Card
Quantum II
™
Digital Multi-Band Processor
The engineers at dbx® designed the Quantum II™ to be the standard
by which all digital mastering processors are measured. With our pat-
ented Type IV® Conversion System and TSE™ Tape Saturation Emulation
circuitry, the Quantum II allows your signal to retain its analog warmth
and character, while delivering the sonic clarity that today’s digital envi-
ronments demand. Other features include four-band Gating, Compres-
sion, and Limiting, or MS Gating, Compression, and Limiting. A five-band
Parametric EQ is available to change the tonal character of the signal and
the EQ can be placed either pre- or post-dynamics processing. The EQ
can also be set up as a MS EQ allowing the user to manipulate the char-
acter of the Center information (Left + Right) and the Side information
(Left – Right). The Quantum II is capable of dual mono or true stereo
operation with RMS Power Summing™. Also available on the Quantum
II™ is a Normalizer with flexible gain optimization, stereo adjust, and
an output Dither and Noise Shaping option which allows user assigned
noise shaping and output dither to 8, 16, 20 or 24 bits. The Quantum II
features sample rate conversion and low-jitter synchronized inputs and
outputs that use dbx’s proprietary clock chips.
In addition to providing a bevy of state-of-the-art features and
specifications, the Quantum II allows you to control the aforementioned
items via the included PC GUI interface. This feature in turn allows you
to keep your focus on the project at hand, while keeping your hands off
of the unit itself.
Whether you are working with DAT, DAW, or analog, the Quantum
II provides all the tools that you need to make the most of your mixes.
160SL
Page 1
Page 1
Compressor/Limiter
The 160SL combines the best features of all the great dbx® compres-
sors, past and present, and gives you more versatile performance than
ever before. In addition to having the auto attack and release as well as the
hard knee threshold characteristics of the classic dbx 160, the 160SL now
offers AutoVelocity manual mode, in addition to our classic OverEasy®
mode. dbx AutoVelocity technology allows you to find the exact attack
and release effect you are looking for. Still on board is the venerable dbx
Auto mode. Now you can set your maximum preferred settings in manual
mode, and let the 160SL do the rest for you.
The heart of any dynamics processor is its VCA. The dbx 160SL
features dual proprietary V8 VCA modules. This state-of-the-art imple-
mentation of dbx’s original Blackmer decilinear VCA boasts an unheard-
of 127dB dynamic range and ultra-low distortion. Encased in a specially
designed aluminum-zinc housing for shielding and thermal characteristics,
the V8 maintains its superior performance even in the harshest environ-
ments. The 160SL takes full advantage of the most technologically superior
components available today. The 160SL offers a plethora of features which
include: variable attack and release controls, as well as dbx’s latest limiting
algorithm PeakStopPlus™, precision 0.1% and 1% resistors, gold-palladium-
nickel contacts, Jensen® transformers, gold plated Neutrik® XLRs, and rare
earth magnet relays with gold contacts. These features are housed in a her-
metically-sealed nitrogen environment and mounted on military-grade glass
epoxy circuit boards. The end result is the most technologically advanced
compressor in the world, which offers pristine sound quality that will bring
new life and dimension to any audio piece be it live or in the studio.
Composer W.G. Snuffy Walden produces music scores for the network
hits “The West Wing,” “Once and Again,” and “Drew Carey”
“Using the dbx 786 and 160SL as a pair, we’ve been able to use minimal eq. Just using the
dbx 786 mic pre gives a really open and warm sound which is what we thrive on here.”
The Best Ears in the Business Agree
162SL
The 162SL combines the best features of
all the great dbx compressors, past and pres-
ent, and gives you more versatile performance
than ever before. In addition to having the auto
attack and release, and the hard knee thresh-
old characteristics of the classic dbx 160, the
162SL offers AutoVelocity™ manual mode,
along with our classic dbx OverEasy® mode,
made standard by the legendary dbx 165A. All
of the 160SL’s features, including variable attack
and release controls, PeakStopPlus®, as well as
dbx’s latest limiting algorithm PeakStopPlus™,
are included in the 162SL.
Compressor/Limiter
The heart of any dynamics processor is its VCA and the dbx 162SL is no different,
featuring dual proprietary dbx VCA’s. This state-of-the-art implementation of dbx’s origi-
nal Blackmer decilinear VCA boasts an unheard of dynamic range and ultra-low distor-
tion seen only previously in the Blue 160SLs. With sonic clarity designed for the studio,
the 162SL maintains its superior performance in harsh environment. “Pure enough for
the studio, rugged enough for the road,” was the engineering motto of the Purple Series
of Compressor /Limiters. Like its big brother, the 162SL takes full advantage of the best
parts available and dbx’s advanced manufacturing, including Jensen® transformers on each
output standard. Following in the footsteps of the Blue Series® 160SL with the Purple
Series 162SL, dbx continues to create to the most technologically advanced compressors
in the world.
iEQ
Page 1
Page 1
™
Digital Graphic Equalizers w/AFS
™
With an EQ heritage that has produced countless
industry standard patents and dates back more than 30
years, the dbx® iEQs™ easily live up to the dbx legacy
of uncompromising sonic integrity. In addition to unsur-
passed Equalization specs, the iEQ also offers the built-
in necessities which include AFS™ Advanced Feedback
Suppression (which removes unwanted feedback at the
push of a button), Type V™ Noise Reduction and Peak-
StopPlus™ limiting. The iEQ-Series represents a major
step forward in the performance of graphic equalizers.
From its amazing 10Hz to 22kHz frequency response,
to its 110dB dynamic range the iEQs offer out of this
world specifications with a down to earth price point.
Sure to find a home in the studio, on tour and with
installed sound venues, the iEQs are destined to take
their rightful place in the lineage of great dbx signal
processors that are the Professional’s Choice™.
iEQ-15 DUAL 15-BAND GRAPHIC EQ/LIMITER
The iEQ-15 includes two 15-band channels of 2/3-octave digital equalization.
In addition it also offers ±12 dB input gain range; switchable ±6 or ±15 dB boost/
cut range, 40mm faders, XLR, ¼", Euroblock connectors, and nonconductive nylon
slider controls.
iEQ-31 DUAL 31-BAND GRAPHIC EQ/LIMITER
The iEQ-31 includes two 31-band channels of 1/3-octave digital equalization.
In addition it also offers ±12 dB input gain range; switchable ±6 or ±15 dB boost/
cut range, 40mm faders, XLR, ¼" and Euroblock inputs and outputs, nonconduc-
tive nylon sliders.
Each also features an intuitive user interface with comprehensive output and
gain reduction metering. As always, the inevitable result of our meticulous atten-
tion to detail and top-quality componentry is exceptional sound, performance,
and reliability.
20 Series
Since their introduction, the 20 Series equaliz-
ers have become crucial links in the sound systems
of countless professionals all over the world. From
a value perspective, the 20 Series EQs offer an un-
equalled feature set. The crowning feature of each
model in the 20 Series is our Type III™ Noise Reduc-
tion, 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, ¼", and Barrier strip inputs and out-
puts; 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.
Graphic Equalizers
2215
Dual Channel 15-Band Equalizer/Limiter with Type III Noise Reduction with
2/3 octave frequencies ranging from 25Hz to 16kHz. XLR, Barrier strip, and ¼" in-
puts, nonconductive nylon sliders; and an intuitive user interface with comprehensive
output and gain reduction metering.
2231
Dual Channel 31-Band Equalizer with Type III Noise Reduction with 1/3-oc-
tave equalization. It also includes ±12dB input gain range; switchable ±6 or ±15 dB
boost/cut range; XLR, Barrier strip, and ¼" inputs, nonconductive nylon sliders; and
an intuitive user interface with comprehensive output and gain reduction metering.
2031
Single Channel 31-band channels of 1/3-octave equalization, the 2031 also offers
+/-15dB range input gain range; XLR, 20mm faders and ¼" inputs; nonconductive
nylon sliders; and an intuitive user interface with comprehensive output and gain
reduction metering.
As always, the inevitable result of our meticulous attention to detail and top-
quality componentry is exceptional sound, performance, and reliability.
12 Series
Page 1
Page 1
Graphic Equalizers
The dbx® 12 Series were designed to meet the
needs of the most demanding sound reinforcement en-
vironments, while offering the simplicity of straightfor-
ward controls and providing years of maintenance-free
operation in any application. The magnetically-isolated
transformer, electronically balanced inputs and servo
balanced outputs, RF-filtered inputs and outputs, and
power-off hard-wire relay bypass with 2 second power
up delay were steps our engineers took to ensure
compatibility for all installations. Only the best com-
ponents were utilized, yielding a 10Hz to 50kHz fre-
quency response, greater than 90dB SNR (ref +4dBu),
less than 0.005% THD +Noise (1kHz at +4dBu), and
interchannel crosstalk of less than -80dB from 20Hz to
20kHz. All this attention to detail is contained in a 2U
steel/aluminum chassis.
1215
The 1215 provides standard features like dual channels, 15 2/3 octave bands,
ISO frequency centers, +/-12 dB input gain range, and switchable 40Hz/18 dB per
octave low-cut filters,
1231
The 1231 provides standard features like dual-channels, 31 1/3 octave bands,
ISO frequency centers, +/- 12 dB input gain range, and switchable 40Hz/18 dB per
octave low-cut filters.
The 12 Series EQs also offer: 45 mm faders; selectable +/-6dB or +/-15dB
boost/cut range for precise gain adjustments; XLR, barrier strip, and ¼" TRS con-
nectors for installation ease; balanced inputs and outputs for quiet operation; and
chassis/signal ground lift capabilities for quick hum isolation.
2 Series
The dbx® 2 Series Graphic Equalizer have been
designed to meet the needs of the most demand-
ing sound reinforcement environments, while offer-
ing the simplicity of straightforward controls. The 2
Series represents a major step forward in the per-
formance of entry-level graphic equalizers. From
its amazing 10Hz to 50kHz frequency response, to
its 108dB dynamic range, the 2 Series offers out-of
this-world specifications with, a down-to-earth price
point. Sure to find a home in the studio, on tour and
with installed sound venues, the 2 Series is destined
to take its rightful place in the lineage of great dbx
signal processors that are the professional’s choice in
signal processing. With such affordable quality, there’s
no longer any excuse for compromising your sound.
Graphic Equalizers
131
The 131 provides not only offers standard features like single-channel, 31, 1/3
octave bands, ISO frequency centers, +/- 12 dB input gain range, and switchable
50Hz/12 dB per octave low-cut filter, but also includes other insightful features.
These features include 20 mm faders; selectable +/-6dB or +/-12dB boost/cut
range for precise gain adjustments; XLR, and ¼" TRS connectors for installation
ease; balanced inputs and outputs for quiet operation.
215
The 215 not only provides standard features like dual channels, 15 2/3 octave
bands, ISO frequency centers, +/-12 dB input gain range, and switchable 50Hz/12
dB per octave low-cut filters, but also includes other thoughtful features. These
features include: 20 mm faders; selectable +/-6dB or +/-12dB boost/cut range
for precise gain adjustments; XLR, and ¼" TRS connectors for installation ease;
balanced inputs and outputs for quiet operation; and chassis/signal ground lift
capabilities for quick hum isolation.
231
Besides including two 31-band channels of 1/3-octave equalization, the 231
also offers +12 dB input gain range; switchable +6 or +12 dB boost/cut range;
XLR, 20mm faders and ¼" inputs; nonconductive nylon sliders; and an intuitive
user interface with comprehensive output and gain reduction metering.
As always, the inevitable result of our meticulous attention to detail and top-
quality componentry is exceptional sound, performance, and reliability.
The Silver Series 386 dual channel tube mic pre-
amp puts the best of both worlds into one affordable
package by combining the warmth of the irreplace-
able vacuum tube with the proprietary dbx
®
Type IV
®
conversion system.The 386 boasts many of the same
features as other products in the Silver Series, such
as +48V phantom power, a phase invert switch, and
low cut filtering.In addition, the 386 also offers up to
96kHz, 24-Bit digital output capabilities in both
AES/EBU, and S/PDIF formats as standard features.
The 376 puts the best of both worlds into one
affordable package by combining the warmth of the
vacuum tube with the proprietary dbx Type IV
®
con-
version system. The 376 boasts many of the same
f
eatures as other products in the Silver Series, such
as +48V phantom power, a phase invert switch, and
lo
w cut filtering.
In ad
dition, the 376 also offers digi-
tal output capabilities in both AES/EBU, and S/PDIF
f
ormats as standar
d f
eatur
es.
Ad
d selectable sam-
pling rates up to 96kHz and 24-bit,
selectable dither
-
ing and noise shaping; and separate analog and digital
output contr
ols to this alr
eady impr
essiv
e list of f
ea
-
tur
es,
and we think you’ll agree that the 376 lives up
to the uncompr
omising standar
ds of dbx
Pr
of
essional Pr
oducts.
Digital outputs on the 376 and 386
are standard features
386 Mic Pre
376 Tube Preamp Channel Strip w/ Digital Out
386 Mic Pre
Page 0
Page 1
The Silver Series 386 dual channel tube mic preamp
puts the best of both worlds into one affordable package
by combining the warmth of the irreplaceable vacuum tube
with the proprietary dbx® Type IV® conversion system. The
386 boasts many of the same features as other products
in the Silver Series, such as +48V phantom power, a phase
invert switch, and low cut filtering. In addition, the 386 also
offers up to 96kHz, 24-Bit digital output capabilities in both
AES/EBU, and S/PDIF formats as standard features.
376
Tube Preamp Channel Strip w/ Digital Out
Digital outputs on the 376 and 386
are standard features
The 376 has taken the essential tools needed for recording and
put them all on a single channel strip. The mic/line section on the
376 provides a 12AU7 vacuum tube and offers +48V phantom
power, a phase invert switch, a high impedance ¼" instrument in-
put, 20 dB pad, and low cut filtering. The processing section offers
a 3-Band parametric EQ, a classic dbx Compressor, and De-Esser.
The 376 also offers digital output capabilities in both AES/EBU, and
S/PDIF formats with selectable sampling rates including 44.1 kHz,
48 kHz, 88.2 kHz, or 96 kHz with selectable dithering and noise
shaping as standard features. The LED meters provide a clear and
concise visual of the signal processing at a glance. We think you’ll
agree that the 376 lives up to the uncompromising standards of
dbx Professional Products.
10 Series
1066 COMPRESSOR/LIMITER/GATE
Whether you’re looking for “heavy” compression or subtle
gain leveling, the 1066 stereo compressor/limiter/gate with select-
able hard knee or OverEasy® compression is ideal. The 1066’s com-
pressor section allows you to set attack and release times manually
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. With the Side Chain Monitor
button and an equalizer, you can select which frequencies will trig-
ger the gate. For overall speaker protection, our innovative Peak-
StopPlus™ technology prevents unwanted transients from blowing
your drivers and minimizes the distortion common to many other
“hard” limiters.
1046 QUAD COMPRESSOR/LIMITER
Each of the 1046’s four channels allows you to individually select
between our classic OverEasy® or hard knee compression, as well as
connect each channel for separate purposes. Additionally, our Peak-
StopPlus™ circuitry is the most comprehensive limiting technology
available. For easy interfacing with other devices, each of the 1046’s
channels also utilizes balanced, gold-plated XLR and ¼" inputs and
outputs and switchable +4dBu or -10dBV operating levels. The 1046
incorporates our standard-setting designs, state-of-the-art manufac-
turing techniques, and of course, our sought-after sound quality.
1074 QUAD GATE
The 1074 Quad Gate is the perfect companion to the 1066 and
1046. The 1074 offers 4 channels of gating with threshold, depth and
release controls on each channel. The 1074, like the rest of the prod-
ucts in dbx’s® 10 Series, is based on the legendary dbx V2 VCA and
offers XLR inputs and outputs, and ¼" side-chain input. In addition to
an external key input per channel, the 1074 also has an internal filter
that can be independently activated and controlled on a channel per
channel basis. This filter allows the 1074 to not only clean up tracks
but gives you frequency selective control on each gate, to open ex-
actly when you want it to.
160A 166XL 266XL 223/223XL 234/234XL
Page
Page
160A COMPRESSOR/LIMITER
The 160A offers such time-tested features as switchable
OverEasy® and hard knee compression, extremely wide thresh-
old ranges, and controls for ratio and output gain.
The 160A also includes true RMS level detection, providing
the most transparent dynamics processing available–from smooth,
subtle compression to “brick wall” peak limiting. Its electronical-
ly balanced output stage is an outstanding driver for long cable
runs (an output transformer is optional). With its unique “INFIN-
ITY +” inverse-compression mode, the 160A actually decreases
the audio output level below unity gain when the input exceeds
threshold. You can even stereo-couple two 160A’s to process a
stereo mix without shifting the left/right image. The dbx 160A has
truly redefined the standard for dynamics processing.
166XL COMPRESSOR/LIMITER/GATE
With auto attack and release controls and separate preci-
sion LED displays for gain reduction, compression threshold, and
gate threshold, the 166XL allows for quick and accurate setup.
Using our True RMS Power Summing™ feature, the Stereo Couple
mode provides you with a rock solid stereo image The 166XL also
makes advanced applications a breeze with full sidechain function-
ality, the ability to use either hard knee or OverEasy® compres-
sion algorithms, and the venerable PeakStop® limiter. Designed
in the USA, the dbx® 166XL processor puts a completely new
level of compressor/gate performance at a cost within everyone’s
reach.
266XL COMPRESSOR/GATE
The 266XL puts pleasing compression and smooth gating
within reach of everyone. The classic dbx® compression delivers
everything from mellow “leveling,” to aggressive peak limiting. In
addition, the 266XL’s AutoDynamic™ circuitry continuously ad-
justs 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 threshold, mak-
ing the 266XL intuitive and easy to use.
223/234 CROSSOVERS
Crossovers may do nothing more than direct frequencies, but the thought that went
into the 223 and 234 is what really elevates the dbx® crossovers above the rest. The
223 and 234 both feature differentially balanced TRS ¼" inputs and outputs. To prevent
accidental changes of critical 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 opera-
tion (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 allow you to mono-sum the low
frequency outs. Both crossovers feature Linkwitz-Riley 24dB/octave filters–the profes-
sional standard. Each of the units’ channels has a +12dB input gain control and a recessed
40 Hz low-cut, 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 30 years.
223XL and 234XL
XLR versions
To provide you with even more flexibility,
the 223 and 234 are also available in the form of
the 223XL and 234XL which offer balanced XLR
input and output connectors.
AFS™ 224 Advanced Feedback Suppression Processor
Page
Page
The AFS™ 224 Advanced Feedback Suppression
processor has been designed to provide state-of-the-
art feedback elimination processing, while maintain-
ing a simple and intuitive control interface. The AFS
224 utilizes a no-nonsense user interface providing all
the processing and control necessary for both instal-
lation and live use while the AFS is an absolute must
for any live sound application. Ten and twelve filter
per channel feedback elimination processors have be-
come the de facto standard, but the engineering staff
at dbx® have never been content residing in the neigh-
borhood of the status quo. So, to raise the bar once
again, they developed a dedicated feedback suppres-
sion processor that offers up to 24 filters per channel
with filter Qs as narrow 1/80 of an octave. With such
narrow filter Qs, the AFS 224 is able to remove un-
wanted feedback, while preserving the sonic integrity
with precision accuracy. To achieve these staggering
numbers, dbx utilized their patent-pending AFS tech-
nology that had previously only been available in the
upper echelon of products and made it available in
this stand-alone processor. In addition to the plethora
of feedback suppression filters available, the AFS 224
also offers selectable modes, live filter lift, and mul-
tiple types of filtration.
FROM NOW ON
THE ONLY FEEDBACK
YOU’LL BE GETTING
120A 286A PB-48
120A SUBHARMONIC SYNTHESIZER
Unlike other attempts at bass synthesis, the 120A’s
patented subharmonic synthesis process produces smooth,
musical low frequencies that don’t interfere with mid- or
high-band information–even at maximum levels. The result is
unmatched low-end punch at levels that won’t destroy your
system. In fact, the 120A is optimized to allow audio profes-
sionals 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.
286A MIC PREAMP PROCESSOR
The 286A mic preamp/processor features OverEasy®
compression, de-essing, enhancing, expanding, and gating all
in an incredibly pure signal path. In addition, 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 that its preamp and five processors can be used
independently or in any combination. Its floating, balanced
XLR mic input accepts balanced or unbalanced inputs,
a ¼" TRS phone jack accepts both balanced and unbalanced
line signals.
PB-48 PATCH BAY
The PB-48 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 PB-48 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 PB-
48’s balanced TRS and unbalanced TS ¼" plugs pave the way.
IS POSITIVE.
DriveRack® & ZonePRO
Page
Page
INPUTS
PA
260
442
4800/4820
481
482
220i
640
641
1260
1261
™
2 (1) 2 (1) 4(2) 4(2) 4(2) 4(2) 2 6 (4) 12 Number of Inputs (RTA Mic Input)
• • • • • • Connectors: Female XLR
• • • • Connectors, Euroblock
8 Connectors, RCA
• • • • • • • • Type: Electronically bal/RF filtered
• • • • • • • Impedance, >40K
>50kΩ >50kΩ Impedance, balanced, Euroblock
>75kΩ >25kΩ Impedance, unbalanced, Euroblock (& RCA 1260/1261)
• • • • • • Max Input Level: Hardware selectable for +30, +22, +14 dBu
• • Max input Line Level: +20dBu Mic/Line, +12dBu RCA
• • • • • • CMRR: >40dB typical, >55 dB at 1kHz
• • • CMRR: >45dB
• • Mic Pre gain: 30 to 60dB
• • Mic EIN: <118dB, 22Hz-22kHz, 150k
Ω
• • Input Gain Range RTA: 10dB to 70dB w/60dB typical
15V DC 15V DC 48V DC 48V DC 15V 15V RTA Mic Phantom Voltage:
OUTPUTS
6 6 4 8 8 8 2 4 6 Number of Outputs
• • • • • • Connectors: XLR
• • • • Connectors: Euroblock
• • • • • • • • • Type: Electronically balanced, RF filtered
120Ω 120Ω 120Ω 120Ω 120Ω 120Ω 120Ω 120/60 120/60 Impedance
• • • • Maximum Output Level: +25.5 dBu into 1k
Ω, +22 dBu into 600Ω
• • • Maximum Output Level: +20dBu
• • Maximum Output Level: +22dBu
A/D PERFORMANCE
• • • • • • • • • Type: dbx Type IV™ Conversion System
110 114 115 115 115 115 114 113 113 Dynamic Range: (dB) A-weighted
107 112 112 112 112 112 112 110 110 Dynamic Range: (dB) Unweighted
l l Type IV dynamic Range: >119 dB, A-weighted, 22kHz,BW >117 dB, unweighted, 22kHz BW
48kHz 48kHz 48kHz 48kHz 48kHz 48kHz 48kHz 48kHz 48kHz Sample Rate
24 24 24 24 24 24 24 A/D Wordlength: (bit)
D/A PERFORMANCE
112 112 115 115 115 115 112 112 112 Dynamic Range: (dB) A-weighted
110 110 112 112 112 112 110 109 109 Dynamic Range: (dB) unweighted
48kHz 48kHz 48kHz 48kHz 48kHz 48kHz 48kHz Sample Rate
24 24 24 24 24 24 24 A/D Wordlength: (bit)
SYSTEM PERFORMANCE
• • • • Internal Wordlength: 48 bits
• Dynamic Range: >109 dB A-weighted, >106dB unweighted
Dynamic Range: >110 dB A-weighted, >107dB unweighted
0.002 0.002 0.003 0.003 0.003 0.003 0.002 0.003 0.003 THD + Noise: % typical at +4dBu, 1kHz, 0dB input gain
• • • • • • • • • Frequency Response: 20Hz - 20kHz, +/-0.5dB
• • Interchannel Crosstalk: >80dB typical
• • Crossalk input to putput: >80dB typical
0.6 msec 0.6 msec Propagation Delay
PRE EQ
28-Band 28-Band 31-Band 31-Band 31-Band 31-Band 28-Band Type: Graphic EQ per input channel, or 9 band PEQ per input channel (5-Band PA,Studio, 260)
• • • • • • Range: +/-12dB range
• • •
NOTCH FILTERS
• • • Number: 1-5 per input channel not to exceed 10 for all input channels
• Number: 4 fixed per channel
PRE DELAY
N/A configurable N/A 680 680 680 configurable Length: ms/channel
POST DELAY (DRIVER ALIGNMENT)
configurable 340 170 170 170 configurable Length: ms/channel
10
2.7sec 2.7sec TOTAL DELAY TIME
CROSSOVER
• • • Type: 1x2, 1x3, 1x4, 1x5, 1x6, 2x3, 2x4, 2x5, 2x6, 2x7, 2x8, 3x4, 3x5, 3x6, 3x7, 3x8, 4x6, 4x8
• • • • • • Filter Type: Butterworth, Bessel, or Linkwitz-Riley - Note: PA - offers no bessel
• • • • • • Slope: 6, 12, 18 or 24 dB/octave for Butterworth or Bessel filters
12, 24, 36 or 48 dB/octave for Linkwitz-Riley filters Note: PA - offers only 12 and 24 LR
POST EQ
4 3(2) 4 4 4 4 2 Number: EQ bands per output channel
• • • Range: +/-12dB range
DYNAMICS
• • • • • • Type: Compressor/Limiter with PeakStopPlus
• Type: PeakStopPlus
®
®
Pink Noise Generator
• • • • • • Position: Pink noise inserted on selected input(s)
Phase Compensation
• • • • • • Amount: 0-180 degrees phase shift
• • • • • • Output Polarity: Reversible
MISCELLANEOUS
• • • Output Transformers: Optional
• • • • Network: Proprietary RS-485 Backbone
• • • • • • GUI: RS-232 for computer display and configuration
• • • • • • RTA Microphone: Optional
• • • • • • ROM Upgrade: Flash upgradable through RS-232
Dimensions: H x W x D
1.75"x
1.75"x
3.5"x
3.5"x
1.75"x
3.5"x
12.24"x
1.75"x
19"x
5.75"
19"x
7.7"
19"x
12.25"
19"x
12.25"
19"x
12.15"
19"x
12.15"
19"x
3.20"
19"x
5.75"
1.75"x
19"x
5.75"
131
Graphic EQs
215
231
1215
1231
2031
2215
2231
IEQ15
1.75"x
19"x6"
IEQ31
™
Advanced Feedback Suppression
™
Noise Reduction
™
Noise Reduction
™
NR Active: Yellow LED
™
NR Active: Yellow, Green, Red LED
INPUTS/OUTPUTS
• • • • • Connectors: 1/4" TRS, XLR (pin 2 hot), and barrier terminal strip
• • Connectors: 1/4" TRS, XLR (pin 2 hot), and Euroblock
• • • Connectors: 1/4" TRS, XLR (pin 2 hot)
• • • • • • • • • • Type: Electronically balanced/unbalanced, RF filtered
• • • • • • • • • • Input Impedance: Balanced 40kΩ, unbalanced 20kΩ
• • • • • • • • Maximum Input Level: >+21dBu balanced or unbalanced
• • • • • • • • • • CMRR: >40dB, typically >55dB at 1kHz
• • • • • Output Impedance: Electronically balanced 200Ω, unbalanced 100Ω
• • Output Impedance: Electronically balanced 120Ω, unbalanced 60Ω
• • • Output Impedance: balanced 100Ω, unbalanced 50Ω
+21dBu >+21dBu >+21dBu >+21dBu >+21dBu >+21dBu >+21dBu >+21dBu >+20dBu >+20dBu Maximum Output Level
SYSTEM PERFORMANCE
• • • • • • • • • • Bandwidth: 20Hz to 20kHz, +/-0.5dB
• • • • • • • • • • Frequency Response: <10Hz to >50kHz , +0.5/-3dB
• • • • • • • THD + Noise: <0.004%, at +4dBu 1kHz
• • • THD + Noise: <0.04% , 0.02% typical at +4dBu, 1kHz
• • • • • • • • • • Interchannel Crosstalk: <-80dB, 20Hz to 20kHz
• • • Dynamic Range: >108dB, unweighted 22kHz measurement bandwidth
• • • Signal to Noise Ratio: 90dB
• • • • • Dynamic Range: >112dB, unweighted
• • • • • Signal to Noise: >94dB, unweighted, ref. : +4dBu, 22kHz measurement bandwidth
• • • Dynamic Range: 108dB
• • • Signal to Noise Ratio: 90dB
• • • Noise Reduction: Up to 20dB of dynamic broadband noise reduction
• • Noise Reduction: Up to 10dB of dynamic broadband noise reduction
Noise Reduction In (+/-6dB and +/-15dB range)
• • • Dynamic Range: >120dB , unweighted
• • • Signal to Noise Ratio: >102dB, unweighted , ref: +4dBu, 22kHz measurement bandwidth
• • Dynamic Range: 109dB 115dB
• • • • • Signal to Noise: >94dB, unweighted, ref. : +4dBu, 22kHz measurement bandwidth
• • Digital Resolution: 24 bits
• • Sample Frequency: 48kHz
• • Latency: 2msec
FUNCTION SWITCHES
• • AFS: Activates dbx AFS
• • Type V: Activates dbx Type V
• • • Type III: Activates dbx Type III
• • • • • • • • • • EQ Bypass: Bypasses the graphic equalizer section in the signal path
• • • • • • • Low Cut (recessed): Active the 40Hz 18dB/octave Bessel high-pass filter
• • • Low Cut: Active the 50Hz 12dB/octave high-pass filter
• • • • • • • Range: (recessed) Selects either +/-6dB or +/- 15dB slider boost/cut range
• • • Range: Selects either +/-6dB or +/- 12dB slider boost/cut range
INDICATORS
• • • • • • • • • • 4-LED bar graph (Green, Green, Yellow, Red) at -10, 0, +10, and +18dBu
• • • • • Gain Reduction Meter: 4-LED bar graph (all Red) at 3, 6, and 10dB
• • • Type III
• • Type V
• • AFS™ Advanced Feedback Suppression Active: Red LED
• • • • • • • • • • EQ Bypass: Red LED
• • • • • • • • • • Clip: Red LED
• • • • • • • • • • Low Cut Active: Red LED
• • • • • +/-6dB range: Red LED
• • • +/-12dB range: Red LED
• • • • • • • +/-15dB range: Red LED
POWER SUPPLY
• • • • • • • • Operating Voltage: 100VAC 50/60Hz, 120VAC 60Hz - 230VAC 50/60Hz
12 w 12 w 15 w 24 w 24 w 12 w 24 w 24 w 17 w 17 w Power Consumption: (watts)
• • • • • • • • • • Mains Connection: IEC receptacle
DIMENSIONS: H x W
1.75"x
3.5"x
5.25"x
3.5"x
3.5"x
5.25"x
3.5"x
5.25"x
19"x6"
19"x7.9"
19"x7.9"
19"x7.9"
19"x7.9"
19"x7.9"
19"x7.9"
19"x7.9"
1.75"x
19"x6"
Compressors/Limiters/Gates
Page
Page
266XL
166XL
160A
1074
1046
1066
160SL
INPUTS
X,T X,T X,T X X,T X,T X,T X,T Connectors: X=XLR, T=TRS ¼"
• • • • • • • • Type: Electronically balanced/unbalanced, RF filtered
>40k >50k/>25k >100k/>50k >50k/>25k >40k/>20k >40k/>20k >20k/>10k >50k/>25k Impedance: Balanced/Unbalanced (ohms)
>+20dBu >+24dBu >+24dBu >+22dBu >+22dBu >+22dBu +30dBu/+26 +24dBu Max Input Level: Balanced or Unbalanced
>45 >45 >45 >45 >45 >45 >80 >40 CMRR: Typical @ 1kHz
V1 V1 V1 V2 V2 V2 V8
T T T T T T X T
X,T X,T X,T X,T X X,T X X,T Connectors: X=XLR, T=TRS ¼"
* • • • • • • Type: Electronically balanced/unbalanced, RF filtered (*266XL is impedance balanced)
• • Type: Transformer balanced/unbalanced, RF filtered
>120/>60 >30 >60/>30 >30/>15 >30/>15 >50/>25 >30/>15 Impedance: Balanced/Unbalanced (ohms)
>+21 >+21 >+24 >+22 >+22 >+21 >+30 >+24/>+22 Max Output Level: (dBu)
SYSTEM PERFORMANCE
• • • • • • • • Bandwidth: 20 Hz to 20 kHz, +0/-0.5 dB (162SL=+0/-0. dB)
-90 -90 -90 -94 -94 -94 -94 -93 Noise: < (dBu), unweighted, 22 kHz measurement bandwidth
• • • • • • • • Stereo Coupling; True RMS Power Summing
COMPRESSOR
• • • • • • Threshold Range: -40 dBu to +20 dBu
• Threshold Range: -40 dBu to +30 dBu
• • • • • • • Ratio: 1:1 to
• • • • • • • Threshold Characteristic: Selectable OverEasy
• • • • • Attack/Release: Selectable manual or auto
• • Attack/Release: Auto
• • • • • • • • Output Gain: -20 to +20 dB
• Output Gain: -25 to +25 dB
LIMITER
N/A Peakstop N/A N/A Peakstop Peakstop Peakstop Peakstop Type
Plus
®
Plus® Plus® Plus
OPTIONS
• 704X Digital Output System
• • • • å Output Transformer: Jensen
DIMENSIONS: H x W
1.75"x
1.75"x
1.75"x
1.75"x
1.75"x
1.75"x
19"x5.75"
19"x6.75"
19"x6.5"
19"x9"
19"x9"
19"x9"
3.5"x
19"x11.25"
162SL
VCA TYPE
SIDECHAIN INSERT Connectors: X=XLR, T=TRS ¼"
OUTPUTS
∞:1
®
(162SL two-stage)
®
3.5"x
19"x10"
JT-123-dbx or JT-11-dbx, BCI™ RE-123-dbx or RE-11-dbx
®
or hard knee
Digital Signal Processors (cont.)
IEM
QUANTUM II
AFS224
D/A SYSTEM PERFORMANCE
• • • D-A Conversion: 24-Bit
• • Dynamic Range: 115dB typical, A-weighted, 22kHz bandwidth
112dB typical, unweighted, 22kHz bandwidth
• Dynamic Range: 112dB typical, A-weighted, 22kHz bandwidth
109dB typical, unweighted, 22kHz bandwidth
• • THD+ Noise: 0.002% typical at +4 dBu, 1 kHz, input gain at 0dB
• • THD+ Noise: 0.003% typical at +4 dBu, 1 kHz, input gain at 0dB
• • • Frequency Response: 20Hz to 20kHz, +0/-0.5dB
• • Interchannel Crosstalk: <-85dB at 1kHz, input gain at 0dB
• Interchannel Crosstalk: <-80dB at 1kHz, input gain at 0dB
DIGITAL I/O
• • N/A Word Clock: 96kHz, 88.1 kHz, 48 kHz and 44.1 kHz - (internal) INT96, INT88.2, INT48, INT44.1,
(SuperClock) SC48, SC44.1, Word, AES/EBU, and S/PDIF.
The SuperClock frequencies are 256 times the sample frequency
• • SRC (sample rate conversion): INT44.1 and INT48, Word, SC48, SC44.1
1.75"x
1.75"x
19"x10"
1.75"x
19"x5.75"
DIMENSIONS: H x W
19"x10"
Digital Signal Processors
IEM
QUANTUM II
AFS224
INPUTS
X,T X,T X,T Connectors: X=XLR, T=TRS ¼"
• • • Type: Electronically balanced/unbalanced, RF filtered
>18k/>9k >18k/>9k 50k/25k Impedance: Balanced/Unbalanced (ohms)
+24dBu +24dBu +20dBu Max Input Level: balanced or unbalanced
• • • CMRR: >40dB at 1kHz, typically >55dB @1kHz
• • Input Gain Range: -
• • N/A MIDI: 5 Pin DIN MIDI Input Jack
OUTPUTS
X,T X,T X,T Connectors: X=XLR, T=TRS ¼"
• • • Type: Electronically balanced/unbalanced, RF filtered
• • • Balanced: 120
• Max Output Level: +20dBu
• • Max Output Level: +21dBu,>+20 dBm into 600
• • Output Gain Range:
• • N/A MIDI: 5 Pin DIN MIDI Out/thru Jack
• • N/A PC COMM: RS232
COMPRESSOR
Multi-band Multi-band N/A Type
LIMITER
Multi-band Multi-band N/A Type: Peakstop
EXPANDER/GATE
Multi-band Multi-band N/A Type
A/D SYSTEM PERFORMANCE
• • • A-D Conversion: 24-Bit dbx Type IV
• • Converter Dynamic Range: >114dB typical, A-weighted, >112dB typical, unweighted, 22kHz bandwidth
• Converter Dynamic Range: >113dB A-weighted, >110dB unweighted, 22kHz bandwidth
Type IV
™
• • Up to 125dB with transient material, unweighted, 22kHz bandwidth
Typically 119dB with program material, A-weighted, 22kHz bandwidth
Typically 117 dB with program material, unweighted, 22kHz bandwidth
• Type IV™ Dynamic Range: >119 A-weighted, >117dB unweighted, 22kHz bandwidth
• • • Frequency Response: 20Hz to 20kHz, +0/-0.5dB
• Interchannel Crosstalk: <-85dB at 1kHz, input gain at 0dB
• Interchannel Crosstalk: <-80dB at 1kHz, input gain at 0dB
∞ to +16dB
Ω/Unbalanced: 60Ω
Ω, balanced or unbalanced
∞ to +16 dB
™
, PeakstopPlus
®
™
Conversion System
Dynamic Range: Up to 127dB with transient material, A-weighted, 22kHz bandwidth
Crossovers
223
223XL
234
234XL
INPUTS
¼" TRS XLR ¼" TRS XLR Connectors
• • • • Type: Electronically balanced/unbalanced, RF filtered
• • • • Impedance: Balanced > 50 kΩ, unbalanced > 25 kΩ
• • • • Max Input Level: > +21 dBu balanced or unbalanced
• • • • CMRR: > 40 dB, typically > 55 dB at 1 kHz
OUTPUTS
¼" TRS XLR ¼" TRS XLR Connectors:
• • Impedance: Balanced
• • Electronically balanced/unbalanced, RF filtered
• • • • Max Output Level: > +21 dBu balanced/unbalanced into 2 kΩ or greater
SYSTEM PERFORMANCE
• • • • Bandwidth: 20 Hz to 20 kHz, +0/-0.5 dB
• • • • Frequency Response: < 3 Hz to > 90 kHz, +0/-3 dB
• • • • Signal-to-Noise: Ref: +4 dBu, 22 kHz measurement bandwidth
• • Low Output: > 94 dB (Stereo Mode) > 94 dB (Mono Mode)
• • Low Mid Output: >94 dB (Mono Mode)
• • High-Mid: > 92 dB (Mono Mode)
• • • • Mid Output: > 93 dB (Mono Mode)
• • High-Mid Output: > 92 dB
• • • • High Output: > 92 dB (Stereo Mode) > 92 dB (Mono Mode)
• • • • Dynamic Range: > 114 dB, unweighted, any output
• • • • THD+Noise: < 0.004% at +4 dBu, 1 kHz, < 0.04% at +20 dBu, 1 kHz
• • • • Interchannel Crosstalk: < -80 dB, 20 Hz to 20 kHz
CROSSOVER FREQUENCIES
• • • • Stereo Mode: Low/High: 45 to 960 Hz or 450 Hz to 9.6 kHz (x10 setting)
POWER
• • • • Operating Voltage: 100 VAC 50/60 Hz; 120 VAC 60 Hz, 230 VAC50 HZ
15 w 15 w 15 w 15 w Power Requirements (watts)
DIMENSIONS H x Wx D
1.75"x
1.75"x
19"x
6.9"
1.75"x
19"x
6.9"
19"x
6.9"
Mono Mode: Low/Mid: 45 to 960 Hz or 450 Hz to 9.6 kHz (x10 setting)
Mid/High: 45 to 960 Hz or 450 Hz to 9.6 kHz (x10 setting)
Filter Type: Linkwitz-Riley, 24 dB/octave, state-variable
1.75"x
19"x
6.9"
386
Page 0
Page 1
Mic Preamps/Channel Strips
376
286A
1.75"x
19"x
5.75"
3"x
19"x
11.25"
786
Ω source load "A-weighted"
Ω
Ω
Ω terminated by internal jumper
®
A/D Conversion System
MICROPHONE INPUT
• • • • Connector: Female XLR Pin 2 Hot
• • • Type: Electronically balanced/unbalanced
• Maximum Input Level: -10dBu or +10 dBu with 20dB pad engaged
• • Maximum Input Level: -9 dBu or +11 dBu with 20 dB pad engaged
• Type: Transformer Balanced
• • Gain Adjustment Range: +10dB to +60dB
• • Gain Adjustment Range: +30dB to +60dB
48V 48V 48V 48V Phantom Power
• • • • Pad: 20dB
-120 -120 -120 -128 Equivalent Input Noise: Typically -(dBu) typical with a 150
LINE INPUT
• • • Connector: TRS ¼" Jack
• • Type: Electronically Balanced/unbalanced
20k-40kΩ 20k-40kΩ 100kΩ Impedance: bal/unbalanced
Maximum Input Level: 0 dBu or +20dBu with 20dB pad engaged
• • Maximum Input Level: +21dBu balanced or unbalanced
• Maximum Input Level: +18dBu balanced or unbalanced
INSTRUMENT INPUT (Front Panel)
• • Connector: TS ¼" Jack
• • Type: Unbalanced
• • Impedance: 470 k
+21kΩ +18kΩ Maximum Input Level (unbalanced)
• Insert Connector: TRS ¼"
• Type: Unbalanced
LINE OUTPUT
• • • Connector: Male XLR Pin 2 Hot and impedance balanced TRS ¼"
• Connector: ¼" TRS phone balanced/unbalanced
• • • Type: Electronically balanced
• Type: transformer balanced/unbalanced
>21 >18 >21 >30 Maximum Output Level: (XLR) +dBu
DIGITAL OUTPUTS
• RCA Connectors: XLR for AES/EBU, RCA for S/PDIF l = both connector types
INSERT
• • Connector: TRS ¼"
• • Ring Impedance: >5k
• • Maximum Level: >+21dBu
Word Sync Input/Output
• Connectors: BNC
• Input Impedance: 75
• Input: 96, 88.2, 48, or 44.1kHz word clock
• Output: 96, 88.2, 48, or 44.1kHz word clock
A/D CONVERSION
• • Type: dbx Type IV
• Sample Rate: 96, 88.2, 48, or 44.1kHz selectable
• Wordlength: 24, 20, or 16 bit selectable
• Dither Type: TPDF, SNR2, or none
• Noise Shape: Shape 1, Shape 2, or none
• Output Format: S/PDIF or AES/EBU
107dB 107dB Converter Dynamic Range: typical, A-Weighted, 22kHz Bandwidth
D/A CONVERSION
• D-A Conversion 24-bit
• Dynamic Range: 103 dB typical, A-weighted, 20 kHz bandwidth, 101 dB typical, unweighted, 20 kHz bandwidth
• THD+Noise: 0.002% typical at +4 dBu, 1 kHz, output gain at 0 dB
• Frequency Response: 20 Hz to 20 kHz, +0/-0.5 dB
• Interchannel Crosstalk: < -85 dB at 1 kHz, output gain at 0 dB
DIMENSIONS
1.75"x
1.75"x
H x W x D
19"x
19"x
7.75"
7.75"
Notes:
dbx Professional Products
www.dbxpro.com
8760 South Sandy Parkway, Sandy, Utah 84070, USA, Tel: (801) 568-7660, Fax: (801) 568-7662
International Fax: (801) 568-7583, web: www.dbxpro.com, www.driverack.com, email: customer@dbxpro.com
For other products and distributors worldwide see our website: www.dbxpro.com
P/N #1-000-F
Loading...