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manual abstract
After the classic 160 (which is still used daily in many world class studios), came the 165, the 160X and the 160XT. The 160X/XT were the models that truly became the industry standard. Solid construction, fool proof operation, great sound, at-a-glance metering and a bulletproof output stage all contributed to its popularity with musicians, recording studios, consultants and installers, and broadcast media production people alike. In updating the design, dbx has chosen to maintain all the key characteristics that have made the 160X/XT the icon that it is. At the same time, we have improved the design. The dbx 160A is the latest generation of the legendary dbx 160 family of compressor/limiters. The same classic sound, easy set-up and no compromise metering is now married to an improved signal path and stronger chassis design. The result is the new industry standard compressor/limiter which is digital-ready and road tough. Featuring switch-selectable OverEasy® and Hard Knee compression curves along with extremely wide-ranging threshold, ratio and output controls, the dbx 160A is up to any task. True RMS level detection provides the most natural- sounding dynamics processing available, from subtle compression to “brick wall” peak limiting. Choose low ratios and OverEasy® compression to transparently smooth out fluctuating vocal and instrumental levels. Or use the 160A’s Hard Knee compression and high ratios (up to and beyond .:1 and over 60dB gain reduction) for bombproof protection against overload distortion in digital recording, P.A. systems and broadcast signals. The 160A is fully compatible with +4/-10dB and balanced/ unbalanced systems, and its electronically balanced output stage is an outstanding line driver for long cable runs (an output transformer is optional). The 19-segment, switchable input/ output LED metering can be easily calibrated to any operating level. 12-segment gain reduction LEDs provide precise analysis at a glance. The dbx 160A’s unique “INFINITY +” inverse-compression mode actually decreases the audio output level below unity gain when the input exceeds threshold, a real lifesaver for correcting overbearing vocal choruses and controlling runaway house mix levels. A detector input can be used with an equalizer for de-essing sibilant vocals and selectively smoothing out boomy notes on acoustic guitar and bass. And two 160As can be stereo-coupled to process an entire mix or instruments mic’d in stereo, without shifting the left/right image. Its musical sound, easy operation and unequaled versatility made the original dbx 160 a world standard. The 160A follows that tradition, while meeting the challenges of a digital world. • OverEasy® or classic hard knee compression with dbx’s ultra-musical program dependent attack and release times • Compression Ratio variable from 1:1 through infinity :1 to negative compression • Precision dual RMS LED display monitors input or output and gain reduction over a wide range and calibrates for different operating levels • Over 60dB of gain reduction available • Exclusive Infinity+ compression allows negative compression • lndependent balanced and unbalanced outputs can drive 600. loads to +24dBm simultaneously. New floating balanced output stage drives any load • Optional output transformer capable • Strappable with another 160A for true RMS stereo summing operation • Made in the USA 8760 S. Sandy Pkwy. Sandy, Utah 84070 Phone (801) 568-7660 Fax (801) 568-7662 Int’l Fax (801) 568-7583 customer@dbxpro.com A Harman International Company 18-1659-C 01/99 COMPRESSOR / LIMITER 160A COMPRESSOR / LIMITER LEVEL INPUT OUTPUTBYPASS SLAVE THRESHOLD COMPRESSION RATIO OUTPUT GAIN +20dBu +10 0 -40dBu -1:1 -2:1 -5:1 6:1 4:1 1:1 +20dB +10 0 -20dB -102:1 3:1 -30 -20 -10 BELOW ABOVE -40 30 20 15 10 8 6 5 4 3 2 1 0 1 2 4 6 10 20+ GAIN REDUCTION :1 COMPRESSOR / LIMITER 160A COMPRESSOR / LIMITER LEVEL INPUT OUTPUTBYPASS SLAVE THRESHOLD COMPRESSION RATIO OUTPUT GAIN +20dBu +10 0 -40dBu -1:1 -2:1 -5:1 6:1 4:1 1:1 +20dB +10 0 -20dB -102:1 3:1 -30 -20 -10 BELOW ABOVE -40 30 20 15 10 8 6 5 4 3 2 1 0 1 2 4 6 10 20+ GAIN REDUCTION :1 The compressor shall be a single channel unit, with an audio frequency response of 20—20kHz +0, 0.5dB, an electronically floating balanced input impedance of not less than 38k.with a maximum input level of not less than +24dBu and 1.4” TRS and XLR input connectors. The output impedance of the electronically floating balanced output shall be no more than 32.(balanced or unbalanced) with a maximum output level of not less than +24dBu, into a balanced load with a minimum impedance of not less than 600., and +21dBu into and unbalanced load with a minimum impedance of not less than 600.. It shall use an XLR connector. The output impedance of the separate, 1.4" TRS unbalanced output shall be no more than 21.with a maximum output level of not less than +24dBm. Total harmonic distortion shall be no more than 0.2% in typical operation with ...