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®
162SL
Compressor/Limiter
User Manual
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IMPORTANT SAFETY INSTRUCTIONS WARNING FOR YOUR PROTECTION CAUTION READ THE FOLLOWING: RISK OF ELECTRIC SHOCK DO NOT OPEN KEEP THESE INSTRUCTIONS ATTENTION: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC HEED ALL WARNINGS SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE FOLLOW ALL INSTRUCTIONS The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical DO NOT USE THIS APPARATUS NEAR WATER products. Th
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IMPORTANT SAFETY INSTRUCTIONS U.K. MAINS PLUG WARNING A molded mains plug that has been cut off from the cord is unsafe. Discard the mains plug at a suitable disposal facility. NEVER UNDER ELECTROMAGNETIC ANY CIRCUMSTANCES SHOULD YOU INSERT A DAMAGED OR CUT MAINS PLUG INTO A 13 AMP POWER SOCKET. Do not use the COMPATIBILITY mains plug without the fuse cover in place. Replacement fuse covers can be obtained from your local retailer. Replacement fuses are 13 This unit conforms to the Product a
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Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Why you need compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 The difference between compressors and limiters . . . . . . . . . . . . . . . . . . . . . .4 The compression and limiting effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Limiters and PeakStopPlus™ . . . . . . . . . . . . . . . . . . . .
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Why You Need A Compressor A remarkable feature of the human ear is that it can detect an extremely wide range of amplitude changes - from the slightest whisper to a deafening clap of thunder. If one tries to record or reproduce this wide spectrum of sound with the help of amplifiers, cassette recorders, records, or even digital recorders, one is immediately restricted by the physical limitations of electronic and acoustic sound reproduction technology. The useable dynamic range of electronic aud
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Clipping Clipped signal heavily distorted Headroom Operating Level Dynamic Range Useable dynamic range Noise Floor Audio levels below here are not heard, because of noise ii The Difference Between Compressors and Limiters By measuring the dynamic range of musical instruments in live recording situations, you will experience extreme amplitudes which will often lead to overload in subsequent signal processing equipment. Especially in broadcasting and digital recording, these signal peaks can lead
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The Compression and Limiting Effects On a compressor, there is a relationship between the input signal, and the threshold level, input, out- put, and ratio settings. Look at an input signal applied to the inputs of two compressors. The threshold level of the second unit is set ten decibels higher than the threshold of the first unit. Since a compres- sor only affects signals that exceed the threshold level, it is obvious that the signal of the first compres- sor will be compressed more, because
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Furthermore, it is interesting to note that by comparing the input and output waveforms for the com- pressed mode, the quietest sections of the input signal have been effectively raised in level, where- as the loudest sections have been effectively decreased in level. The overall effect is that both ends of the dynamic range have been pushed toward the middle. This squashing effect of compression is important to remember and highlights the major difference between compressing and limiting. Compr
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GAIN control. If the output gain is set too high as compared to the PeakStopPlus Level control, con- tinuous limiting can occur. While PeakStopPlus is typically used as a protective function, creative effects can be achieved by intentionally driving the signal into heavy PeakStopPlus limiting. Great care has gone into the design of the PeakStopPlus limiter to keep it acoustically transparent. Appropriate use of it can protect your gear while keeping the signal free of artifacts. For best results
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Connections The 162SL is connected for operation using the rear panel XLR or 1/4” connectors. Note that the two rear panel input sections have a push-switch which lifts the contact on pin #1 (ground). Keep this switch in the OFF position (pin #1 connected) until all connections are made. Be sure that your input and out- put cables are wired in the “pin 2/tip” configuration, which is printed on the rear panel of the 162SL. For more information on other types of connections, refer to the section e
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Front Panel Controls ® ® OverEasy Switch: This switch activates/deactivates the OverEasy characteristics of the 162SL. When the switch is IN, the 162SL is in OVEREASY mode. OverEasy is a process which allows the user to compress a signal more gently than a hard knee compressor through the threshold region. This action produces a much smoother “natural-sounding” compression effect. When the OverEasy switch is OUT, the regular, hard knee action of the compressor is active. Hard knee operation can
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increase in output level, regardless of how far the set threshold level is exceeded. This occurs in both OverEasy® and hard knee operation. Note that when a compressor is set to a compression ratio of 10:1 or more, it may be considered to be LIMITING the input signal, especially when a fast attack time is selected. Auto Switch: This switch sets the 162SL for automatic or manual operation. When the Auto switch is IN (AUTO mode), the compressor automatically adjusts its attack rate and release tim
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® PeakStopPlus Switch and LED: The dynamics of the dbx 162SL are set to handle fast transients ® through PeakStop limiting and the newer PeakStopPlus. PeakStop is the process first introduced on the dbx 165A compressor/limiter. PeakStop is made up of an extremely fast-reacting detector, called Instantaneous Transient Clamp. The sound of PeakStop became popular as the 165A permeated the audio industry, and quickly became the standard looked for by many top artists of the day. The lat- est implem
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Bypass Switch and LED: This switch activates a hard-wire relay bypass system, which allows the audio signal to pass through the compressor directly from input to output, even when the 162SL is turned off. That is to say that the XLR Pin 2 at the input connector is directly connected to the XLR Pin 2 at the output connector, and the XLR Pin 3 at the input connector is directly connected to the XLR Pin 3 at the output connector. When the 162SL is in bypass mode the LED directly above the Bypass sw
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Note that the gain reduction scale is linear in dB as opposed to the standard VU markings on the upper scale on which input and output levels are monitored. This allows for easy visual indication of gain reduction, as it can be read in a fraction of a second, with only a fleeting glance from the engineer. In put Meter Selection Switch and LED:Selecting this mode via the switch allows the user to monitor the incoming signal on the logarithmic (upper) scale of the VU meter. When in input mode, the
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POWER PHONE: XLR: TIP PIN 1 RING PIN 2 SLEEVE PIN 3 28 WATTS CHANNEL 2 CHANNEL 1 OUTPUTS INTPUTS OUTPUTS INTPUTS GND GND SIDECHAIN +4 dBu SIDECHAIN +4 dBu FUSE REPLACEMENT RATINGS 100V-120V T 400mA L 250V RETURN SEND RETURN SEND -10 dBV LIFT -10 dBV LIFT 220V-240V T 200mA L 250V Rear Panel Audio Input and Output Connectors: Each audio input and output channel of the 162SL offers both 1/4” and XLR connectors. The connectors are default wired in balanced mode (pin 2 /tip hot), although sup
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® OverEasy And Hard Knee In a typical hard-knee compressor, the threshold control sets a reference level above which input sig- nals will be attenuated in the manner defined by the setting of the Compression ratio control. Input sig- nals which fall below this level will pass through unprocessed. With OverEasy compression, signals begin to gradually activate the 162SL's gain change circuitry as they approach the threshold reference level and they do not get fully processed in the manner defined
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Using The Stereo Couple Switch Two channels of program material do not necessarily constitute a stereo program. A stereo program is one where the two channels are recorded and/or mixed to create the illusion of a single unified panora- ma of sound. The stability of the psychoacoustic image of each sound source within the stereo spectrum depends upon its ability to maintain a specific phase and amplitude relationship from the left to the right channel. If two independent compressors are used to p
