OPERATING
GUIDE
SL-620 
SM-620
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INSIDE THIS GUIDE: |
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About the FBX |
2,3 |
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Quick-Start Operation |
2 |
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FBX-SOLO Controls |
4,5 |
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Applications |
6-8 |
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Understanding Fixed |
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FBX-SOLO |
& Dynamic Filters |
9 |
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Operating Instructions |
10-12 |
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Model SL-620 |
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Troubleshooting Tips |
13 |
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Product Specifications |
14 |
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Cautions |
14 |
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Warranty |
15 |
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FBX-SOLO
Model SM-620
CONGRATULATIONS! You now have the state-of-the-art in feedback control. The Sabine FBX-SOLO gives you automatic real-time feedback control for any channel on your mix. In setup and during the performance, it gives you more gain and increases the clarity of your mains and monitors. It's the affordable solution to feedback problems, perfect for wireless mics, monitors, acoustic/electric instruments, harmonica mics, multi-mic locations like conference rooms and courthouses -- wherever there's an open microphone.
The FBX-SOLO incorporates the latest in design and digital signal processing technology. It automatically senses feedback in a sound system and determines its pitch. It then places one of its six constant "Q" micro-filters on the resonating frequency and eliminates the feedback in typically less than one second.
Special features of the SL-620 and SM-620:
•The SL-620 has 1/4" in/out connectors and input/output level switches for any combination of ins and outs. The SL is for use with acoustic/electric guitars and guitar amplifiers, mixer insert points, powered mixer patch points and high impedance mics.
•The SM-620, with selectable phantom power, has XLR in/out connectors for use with balanced microphones.
•Both models offer standard FBX features like switchable filter widths and lockable fixed filters.
See page 2 for quick-start operating procedures.
FBX and FBX Feedback Exterminator are registered trademarks of Sabine, Inc., and are the brand names of its line of automatic feedback controllers. Covered by U.S. Patent No. 5,245,665, Australian Patent No. 653,736, Canadian Patent No. 2,066,624-2, German Patent No. 69118486.0, and British Patent No. 0486679. Other patents pending. © 1996 Sabine Inc.
ABOUT THE FBX...
WORLD'S BEST FEEDBACK CONTROLLER:
Before the invention of the FBX, the most common device for controlling feedback was the 31-band graphic EQ. However, the FBX has three distinct advantages. The most obvious is the FBX functions automatically, even during the program. Another is the FBX microfilters are precisely placed while EQ filters are fixed. The difference: FBX filters do not have to be as deep, so there is more system gain. The most important advantage is that FBX micro-filters are ten times narrower than 31-band EQ filters. FBX micro-filters return up to 90 percent of the power removed by EQ filters.
Over the years, engineers stopped using 12-band EQs in favor of the narrower-filter 31band EQ for controlling feedback. The FBX represents the next step. An EQ would need more than 10,000 sliders to be equivalent to your FBX. With the SOLO, your monitors will finally sound loud enough, everyone in the audience will understand each word, and the mains will sound natural and transparent.
WHO NEEDS THE FBX?
Virtually every sound system will be improved with the FBX. Small bands that do not have sound technicians can now increase their monitor volumes so they can hear themselves clearly and with full fidelity, without worrying if the program is going to be ruined by feedback.
Auditoriums and churches of all sizes will enjoy reliable feedback control. Hotels and conference centers around the world can offer meeting rooms with sound systems that won’t howl during programs. The SOLO can be installed in theaters, schools, sports arenas, courtrooms -- anywhere multiple microphones are used. It can also be used for teleconferencing, intercoms or interactive remote classrooms.
WHY THE FBX?
The simple beauty of the FBX is its ability to quickly and effectively eliminate feedback with narrower filters than ever before possible. The FBX delivers superior sound quality automatically.
QUICK-START OPERATION
For best results, read all operating instructions before using the FBX-SOLO. If you're already familiar with the FBX or just want a basic overview of FBX operation, this simple quick-start procedure is for you. More detailed instructions begin on page 9 inside this operating guide.
1.Patch in the SOLO where appropriate for your model, and select the input/output level on the back.
2.With gain down on the input channel, put the SOLO in ACTIVE mode (green bypass LED), then slowly raise the channel gain to the point of feedback.
3.Raise the gain slowly until 5 FBX filters are set, then reduce gain slightly.
4.Adjust the CLIP LEVEL on the SOLO, and you're ready to go.
READ THE ENTIRE OPERATING GUIDE FOR COMPLETE INSTRUCTIONS.
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A DIRECT HIT ON FEEDBACK! The FBX-SOLO targets feedback without taking a big chunk out of your sound. Tests prove that a single 1/3-octave EQ slider pulled down 12 dB removes almost half the power going to the speakers over a two-octave range. And, as the illustration at right shows, you can't place a graphic EQ filter precisely on the ringing frequency. When you pull down multiple sliders in a normal setup (below), you end up with giant holes in your sound. On the other hand, FBX constant "Q" micro-filters are 10 times narrower - you get back up to 90% of the power you lose with a graphic EQ! That means more gain before feedback and no loss in sound quality.
0.0 dBV
-1.875
-3.750
-5.625
-7.500
-9.375
-11.25
-13.13
-15.00 |
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100 Hz |
1K |
0 dB
6 dB
12 dB
500 Hz |
1000 Hz |
2000 Hz |
FREQUENCY RESPONSE:
Full Set-Up FBX vs. 1/3-Octave Graphic Equalizer. Test procedure: A PA system was set up using a microphone, mixer, FBX, power amp and two speakers. The system's gain was raised until the FBX removed six feedback points. Next, the FBX was replaced with a 1/3-octave graphic EQ. The EQ was adjusted while the input was raised to the same level achieved with the FBX. The frequency response curves of each device were then plotted.
What this means to you: Doubling the cost of your microphones, speakers and power amp probably would not improve your system's frequency response as much as replacing your EQ with an
10K FBX for chasing feedback.
HOW CAN THE SOLO BE USED?
Assign a SOLO to any specific mixer channel. You can also use the SM-620 to connect a phantom-powered mic to a non-phantom-powered mixer.
Look for this symbol for specific information on the SL-620.
Look for this symbol for specific information on the SM-620.
3
SL-620 Front & Back Panels
POWER
The ON/OFF power switch is a two-position push button switch. The LEDs corresponding to all active filters will blink on powerup.
ACTIVE/BYPASS
In Active mode, the unit controls feedback automatically. The two-color "BY" LED lights green when the unit is in Active mode and lights red when in Bypass mode. The mic preamp remains active in Bypass mode; only the FBX function is bypassed.
RESET
Press until the LEDs stop flashing to reset or clear all filters.
LOCK FIXED FILTERS
When the "LOCK FIXED" button is pressed, its LED will light to indicate that the FBX is in "LOCK FIXED" mode. "LOCK FIXED" mode can be activated at any time after system setup and will stay on until the button is pressed again and the LED turns off. The dynamic filters are not affected.
FILTER ACTIVITY
When one of the unit’s constant "Q" filters is activated, the corresponding LED lights. A blinking LED indicates the filter that was most recently activated.
CLIP LEVEL ADJUST
Adjust the clip level so that the clip LED blinks intermittently. Higher levels will cause distortion, and lower levels will cause an increase in sound system noise level. When the output level switch is set to UNITY: The FBX combines input and output levels into one control so there is no net gain or loss of signal regardless of where the clip level is set. When the output level switch is set to LINE: The FBX has an adjustable gain which ranges from 0dB to +35dB.
FILTER WIDTH SWITCH
Switch to narrow 1/10-octave filters for music applications or to wider 1/5-octave filters for spoken word applications. The change takes effect only on power up. Selecting a new width has no effect unless you power down and then power up again.
INPUT LOW/HIGH SWITCH
Switch to LOW for instrument or microphone in (use with low level inputs such as piezo mics); this provides a 30dB boost in the FBX's input gain structure. Switch to HIGH for insert or line in (use with high level output instruments and signal processors).
OUTPUT UNITY/LINE SWITCH
Switch to UNITY (for level in=level out) for use with amplifiers that accept low level signals, such as guitar amps. In the UNITY setting the SL-620 has a system gain of 1 (input=output level). Switch to LINE (for line level out) if your signal needs preamping. In the LINE setting the gain is adjusted between 0 and +35dB (HIGH IN; +30 to +65dB LOW IN) via the clip level adjust.
12VDCADAPTOR
The FBX external power supply (single unit power supply; model #S-PSU1) is included with the unit. Use of any other power supplies may cause permanent damage to the unit and
WILL VOID THE WARRANTY.
INPUTS & OUTPUTS
The connector labeled IN/OUT serves as both the unit's input (tip) and output (ring) when used with a single TRS plug. When used with a Y-cord, use the IN/OUT as the input and the OUTPUT as the output.
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SM-620 Front & Back Panels
POWER
The ON/OFF power switch is a two-position push button switch. The LEDs corresponding to all active filters will blink on powerup.
ACTIVE/BYPASS
In Active mode, the unit controls feedback automatically. The two-color "BY" LED lights green when the unit is in Active mode and lights red when in Bypass mode. Phantom power and the mic preamp remain active in Bypass mode; only the FBX function is bypassed.
RESET
Press until the LEDs stop flashing to reset or clear all filters.
FILTER ACTIVITY
When one of the unit’s constant "Q" filters is activated, the corresponding LED lights. A blinking LED indicates the filter that was most recently activated.
LOCK FIXED FILTERS
When the "LOCK FIXED" button is pressed, its LED will light to indicate that the FBX is in "LOCK FIXED" mode. "LOCK FIXED" mode can be activated at any time after system setup and will stay on until the button is pressed again and the LED turns off. The dynamic filters are not affected.
CLIP LEVEL ADJUST
Adjust the clip level so that the clip LED blinks intermittently. Higher levels will cause distortion, and lower levels will cause an increase in sound system noise level. When the output level switch is set to UNITY: The FBX combines input and output levels into one control so there is no net gain or loss of signal regardless of where the clip level is set. When the output level switch is set to LINE: The FBX has an adjustable gain which ranges from -15dB to +20dB.
FILTER WIDTH SWITCH
Switch to narrow 1/10-octave filters for music applications or to wider 1/5-octave filters for spoken word applications. The change takes effect only on power up. Selecting a new width has no effect unless you power down and then power up again.
OUTPUT LO/HI SWITCH
In the LO setting, the SM-620 has unity gain (input=output); use LO for mic level. In the HI setting, gain is adjustable between -15dB and +20dB using the clip level adjust; use HI for line level, or when you need to preamp the signal.
PHANTOM POWER ON/OFF SWITCH
The SM-620 is set to "PHANTOM POWER - OFF" at the factory. If you wish to use phantom power, move the switch to "ON."
12VDCADAPTOR
The FBX external power supply (single unit power supply; model #S-PSU1) is included with the unit. Use of any other power supplies may cause permanent damage to the unit and
WILL VOID THE WARRANTY.
INPUT
The input accepts balanced XLR-3 (PIN 2 high) plugs.
OUTPUT
Use balanced XLR-3 plugs (PIN 2 high) for balanced mixer line inputs.
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