dbx 160XT - Glossary

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2 All CAJ'ACJTORS ARE EXPESSEO IN .. CROFARADS
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IMPORTANT FOR PROTEC!ION FROM FlR{ ANO ElEC!RICM. Sl()CKHAZARDS
WHEN SERVICING, IT IS ESSENTIAL !HA! Olt.Y MANUfAGTURER'S SPECIFIEO
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COMPONENTS MAIO(EO WITH THI$ SYM80l HAVE CRrtlC,._ SJ>ECIFICATIONS - •-
PARTS 8E USED FOR REPlACEMENT
PRIOR TO THE RETl"'N Of THIS APPLIANCE TO THE CUSTOMER.Nil UPON
d bx· . .._ .. N(Q~ ,11e.
34
COM Pl ET ION Of SERVICING. SERVICE PERSO!ffl ARE REOU .. EO lO TEST
THIS I.NIT FOA AOEOUATE INSU.ATK>ff RESISTANCE e.ETWEfN THE POWER
SuPPl Y ANO E~O PARTS
Glossary
This section offers a brief discussion of concepts
directly related to the 160XT's features and func-
tions (e.g., Dynamic Range, Compression, Limit-
ing, Threshold and Leveling) as well as other
common audio concepts (e.g., Noise Reduction).
Read this section if any of these concepts are new
or unclear. Understa _nding the concepts behind the
160XT and other audio equipment will help you to
get the most productivity for all your audio appli-
cations .
Asperity Noise
This is a swishing type of background noise
that occurs with tape recordings in the presence
of strong low frequency signals to mask the
hiss. Asperity noise is caused by minute imper-
fections in the surface of the tape, including
variations on the magnetic particle size in the
tape's oxide coating. The imperfections in-
crease or decrease the strength of the magnetic
field passing the play head in a random man-
ner, resulting in audible noise. Asperity noise
may be present even when no program is re-
corded. When a program is recorded, asperity
noise becomes superimposed on a signal, creat-
ing modulated asperity noise, or "modulation
noise." Using high-quality tape with a
calendered surface helps reduce asperity and
modulation noise (calendered tape is pressed
smooth by high-pressure rollers).
mu
SCHEMATIC
MODEL 180-Xl
COMPRESSOR,UWITEFI
dbx 160XT
Attack Time
Attack time has different meanings in different
contexts. In music, it is the time it takes for a
note to reach its full volume is the attack time
of the note. Percussive instruments usually
have short attack times (reaching maximum
volume quickly) and wind instruments tend to
have long attack times (reaching maximum vol-
ume more gradually).
A compressor or expander requires a finite time
to respond to changes in level. This time is
known as attack time. More precisely, the at-
tack time is the interval (usually measured in
milliseconds, or microseconds) during which
the compression or expander amplifier changes
its gain from the initial value to 90% of the final
value.
Aux Input (Aux Level)
Aux inputs, an abbreviation for auxiliary in-
puts, are low sensitivity jacks provided on most
hi-fi and semi-professional equipment. Aux in-
puts (also known as "aux level" or "line-level"
inputs) have "flat" frequency response and are
intended to be used with pre-amplified signals.
Aux-level (line-level) signals are medium-level,
higher than microphone levels, but not enough
power to drive a speaker. The advantage to
these levels is that they are less susceptible to
hum and noise than are microphone levels. Typ-
ical items that might be connected to aux in-
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