User manual DBX 164

[. . . ] POWER CORD PROTECTION: Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance. SERVICING: To reduce the risk of fire or electric shock, the user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel. SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical products. [. . . ] This feature allows faster attack times and higher compression ratios with less artifacts. Compressor Ratio Control - This control selects the ratio between input and the output levels for signals above the level set by the COMPRESSION THRESHOLD control. Note, when OverEasy® processing is selected, the ratio transitions smoothly from the linear to the compressed region. as the signal exceeds the threshold , the ratio approaches the ratio set by the COMPRESSOR RATIO control. Gain Reduction Meter - This 12 stage meter shows the amount of gain reduction due to compression, expansion/gating, or Intelligent Predictive LimitingTM, displaying gain reduction from 0 to 30 dB. Attack Control - The ATTACK control sets the amount of time it takes the 164 to begin compressing a signal once the detector has sensed a signal above threshold. The ATTACK range is from 3 dB/msec (for a tighter and more noticeable compression effect with very little overshoot) to . A very fast ATTACK setting will cause the 164 to act like a peak limiter Release Control - The RELEASE control sets how fast the compression circuit returns the input to its original level. The RELEASE rate is from 250 dB/sec (where compression follows the envelope of the program material very tightly) to 5 dB/sec (for very smooth compression). Auto Switch - This switch overrides both the ATTACK and RELEASE controls and enables preset program-dependent attack and release times. These times are derived from the input signal and continuously change to match its dynamics. sidechain Send Output - Each channel has a balanced 1/4" TRS SIDECHAIN SEND output. Fattening Kick Drums and Compressing Other Drums Weak, flabby kick drums often have too much boom, and not enough slap. To tighten them up, start with the 164 adjusted for a medium to high RATIO (e. In OverEasy mode, the 164 takes slightly longer to react than in Hard Knee mode, and will therefore emphasize the slap at the beginning of the note and reduce the boominess of its body. The 164 also works well for tightening snare drums and tom toms and can be used with drum machines to effectively alter the character of any electronic drum sound. The equalizer can be adjusted for boost with a peak at about 5kHz, causing the cymbal to be compressed on a very loud crash, stopping tape saturation at high fre- Quencies, where there is less headroom. However, gentle tapping of a drumstick or brushing of the cymbal will not be affected. Assuming the tom-tom is a lower frequency instrument and can be better tolerated by the tape, it has less need for compression. Equalization in the Sidechain circuit means that the compressor is not triggered as readily by a loud tom-tom beat as by an equally loud cymbal crash. , mixing multiple drum tracks to two tracks while using both channels of a 164 for compression), consider backing off the RATIO on each channel (down to 2:1) to avoid an excess of cymbal "splattering. " In larger multitracking systems , compress the kick and snare separately. [. . . ] ) Depending on the threshold setting, lower level fundamentals or harmonics will not cause compression, and the program is not subject to the phase shift normally caused by program equalization. During the recording of cymbals and tom-toms, a compressor with an equalizer in the detector path can help prevent tape saturation. The equalizer can be adjusted for boost with a peak of about 5kHz, causing the cymbal to be compressed on a very loud crash, stopping tape saturation or digital overload at high frequencies, where there is less headroom. However, gentle tapping of a drumstick or brushing of the cymbal will not be held back. [. . . ]