dbx 160X - Page 12

160XT
OPERATING NOTES
Specific Applications
Smoothing out variations in microphone levels
When the distance between a vocalist and a mic changes, variations in
signal level occur. To smooth out these variations, start with the 160XT
adjusted for a low COMPRESSION RATIO (e.g., 4:1) and adjust the
THRESHOLD control for optimum results, then increase COMPRESSION
RATIO if necessary. Due to the gentle OverEasy characteristic of your
160XT you will find that even fairly high ratios are handled transparently.
Smoothing out variations in musical instrument levels
To achieve a smoother electric bass sound, compress the instrument’s
output with a ratio of about 4:1 (the COMPRESSION RATIO control set at
approximately 12:00). Compression lessens the loudness variations
among the strings and increases the sustain. Other instruments, such as
horns, vary in loudness depending on the note being played, and benefit
similarly.
NOTE: When compressing a stereo program with a pair of 160XTs, the
factors affecting a compression curve and the actual compression ratio
and threshold settings, are like those previously covered with reference to
single channels of program material. However, it will generally be found
that large amounts of compression are more audible in a mixed stereo
program than they might be on the separate tracks that were mixed to cre¬
ate the program.
Raising a signal out of a mix
Since reducing dynamic range increases the average signal level by a
small amount, a single track can be raised out of a mix by boosting its
level slightly and applying compression. It is also possible to separate cer¬
tain vocals or instruments from a mono program already mixed by fre¬
quency-weighted compression (see page 12).
Using your EQ to reduce feedback in live settings.
You can use your 160XT and EQ to reduce feedback in clubs or halls by
placing the 160XT at ®o:i, Hard Knee, and a low threshold. Increase con¬
trol gain until the first feedback “ring” occurs. The 160XT will catch it, and
hold it as a constant tone so you can adjust your EQ to minimize it. Con¬
tinue to increase your console gain and set your EQ until the 3 or 4 “ring”
frequencies have been compensated for.
Preventing tape saturation
With programs of widely varying levels, compression can prevent record¬
ing levels from saturating tape tracks (see Frequency-weighted compres¬
sion, page 12).
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