TEST: DBX 266XL

 Something is happening in the field of sound reinforcement! Well, this insight is not entirely new and one or the other specialist will already turn away bored after such a rather profane statement, but I must admit, for an advocate of the old school like me, the overwhelming digitalization of recent years is both a curse and a blessing.

Example 1.): The FOH of my band DOMAIN recently complained that he was increasingly confronted with digital consoles at festivals. The reason is obvious, the omission of the outgear, but in this case mostly the internal effects of the console are taken. OK, the access possibilities of an analog console are still unbeatable, but the digital brothers are always tidier in terms of cabling.

Example 2): A colleague of mine, who also owes his educational background to analog technology, wanted to look for "new" 19" outgear in terms of dynamics processing for his live setup at the Musikmesse 2008. You have an idea what he found? NOTHING! Not a single manufacturer who would have relied on analog technology in terms of future development. Quote: "We only manage the catalog now, future developments will only be digital based!" But whoops!

The reader asks himself why, in spite of cable orgies and vehement string-pulling, a small group of manufacturers is bravely fighting at all relevant events and with stoic presence against the emerging omnipotence of zeros and ones. The answer is a fusion of accessibility, visual control, haptic experience and last but not least, sound!

One of the great trademarks of the "little Gallic outgear village" is the American company DBX, which has written compressor history with its model 1066. With the model 266 XL in front of me, the "small" variant of the 166 XL, DBX turns only also to the budget productions, without neglecting the classic DBX sound.



Construction

The XL 266 comes with typical 1 HE, a mounting depth of just under 14.6 cm and a weight of 3 kilograms, which may be due to the used, quite solid sheet steel. Production-wise, it's like almost always with the manufacturers, "Designed in the US, made in China". The product is designed as a stereo device, but can also be operated 2x mono. Via a stereo-couple switch, both channels can be controlled together via the controls of the first channel, the controls of the second channel are ineffective in this case.



At the rear, the 266 XL has balanced inputs and outputs, both in XLR (locked) and in balanced jack. A small push switch allows you to adjust the input sensitivity between +4 dB and -10 dB. In addition, each channel can be used via sidechain for frequency-optimized compression, for example as a de-esser. A cold device plug without fine fuse access closes the rear panel. Unfortunately, the XL 266 does not have a power switch.

On the front, the XL 266 has two identical access options for one stereo and two mono channels, respectively. The channels can be activated individually via illuminated bypass switches. From left to right are the controls of the expander / gate section, followed by the compressor section up to the catch-up amplifier.

The gate can be completely deactivated in terms of threshold or adjusted up to + 15 dB threshold, with a ratio of 1:1 to 4:1. Two LEDs (green / red) indicate the ratio of the input level to the set threshold. If the signal is below the threshold, the red LED lights up, if the signal level is above, the green LED lights up.

In the compressor section, in addition to the usual threshold, ratio, attack and release management, the patented Overeasy circuit, an in-house threshold opitimization, watches over the input signal. In addition, an "Auto" button can be used to automate the response and release times, whereby, according to the user manual, this gives you the "classic DBX sound" based on the legendary 1066, which is still traded as an industry standard today.
Two eight-digit LED displays also show the reduction of the input signal from 1 to 30 dB.



Practice

Due to the very practical and multilingual user manual, even the inexperienced user can get a clear picture of the compressor's / noise gate's field of application within a short time. Examples of use are very well described, as is the dynamic context, along with the corresponding compression of the material.

The optical control by means of the LEDs alone is already very helpful to quickly detect the applied signal dynamically and to monitor its processing. For dynamically undemanding material, it is not a big deal that the attack and release times can only be configured rudimetrically between fast and slow by means of two knobs, but complex dynamic jumps overtax these setting options. If you want total control here, you have to move up a price range.

As a second compressor in the studio or as a quick helper in the live area, the device does everything you can expect from a good compressor / gate combination and that all very fast, absolutely uncomplicated and above all, with the highly appreciated DBX sound.

So hundred percent I can not even say why DBX compressors in direct comparison to similar competitors always sound a tick'n "fatter", I only know they do! Even with this budget product, the sound is just right. And once again it proves true, experience can not be replaced by anything!



Conclusion

There is simply a reason why one almost automatically thinks of the name DBX when thinking of Outgear compressors and gates. Even with the aforementioned product for the small purse, you don't have to worry about anything in terms of sound.

The 266 XL has the DBX sound that is appreciated across all styles and knows how to handle all common mono and stereo signals in terms of their dynamic management in just a few steps. Assuming a corresponding compressor experience, the operation of the device is intuitive and brings the desired result within a very short time.

Those who do not work with dynamically highly complex material and can do without the lack of calibration of the attack and release times will find in the XL 266 an accomplished accomplice, which sounds more expensive than one might expect from the price.


Pro:
DBX sound for little money
clear operation
very good automatic


Contra:
sharp protruding screws on the bottom side of the device
jack input sockets not locked to the housing
no exact attack and release times adjustable
no on/off switch

Additional Informations:

- DBX Audio is a well-known American audio equipment manufacturer founded in 1971. The company is headquartered in Salt Lake City, Utah, and specializes in professional audio processing equipment. DBX Audio is a subsidiary of Harman International Industries, which is itself a subsidiary of Samsung Electronics.

DBX Audio's products are designed for professional sound reinforcement and recording applications. They are used in a variety of settings, including live events, broadcast studios, and recording studios. The company's product range includes compressors, limiters, equalizers, crossovers, and digital signal processors (DSPs).

One of DBX Audio's most popular products is the DBX 286S, a mic preamp and channel strip designed for recording and broadcasting applications. The DBX 286S features a built-in compressor, de-esser, enhancer, and expander/gate, all of which are adjustable and designed to help users achieve optimal audio quality. The DBX 286S also features phantom power, a low-cut filter, and a 20dB pad, making it a versatile and powerful tool for audio processing.

Another popular product from DBX Audio is the DBX DriveRack PA2, a loudspeaker management system designed for live sound applications. The DriveRack PA2 includes a powerful DSP processor and a user-friendly interface, allowing users to easily optimize their sound system for any venue. The DriveRack PA2 features advanced features such as automatic feedback suppression, EQ, and delay, making it a valuable tool for any live sound engineer.

In addition to its product range, DBX Audio is also known for its commitment to innovation and excellence. The company's products are designed and manufactured using the latest technologies and highest-quality materials, ensuring that they deliver exceptional performance and durability. DBX Audio's products are also rigorously tested to ensure that they meet the company's strict standards for audio quality and reliability.
DBX Audio is also committed to providing exceptional customer service and support. The company offers a range of resources and tools to help customers get the most out of their products, including user manuals, online tutorials, and technical support services. DBX Audio also offers a comprehensive warranty on all of its products, giving customers peace of mind and protection against defects and failures.

Overall, DBX Audio is a leading manufacturer of professional audio processing equipment, known for its commitment to innovation, excellence, and customer service. With a wide range of products designed for a variety of applications, DBX Audio is a trusted choice for sound engineers and audio professionals around the world. Whether you're looking for a mic preamp, a loudspeaker management system, or any other professional audio processing equipment, DBX Audio has the tools and expertise to help you achieve exceptional audio quality.

- Audio compressors are essential tools for music producers, sound engineers, and other professionals in the audio industry. They are used to manipulate the dynamic range of an audio signal, which is the difference between the loudest and softest parts of the signal. This article will provide a detailed explanation of what audio compressors are, how they work, and their various uses.

What is an Audio Compressor?

An audio compressor is an electronic device or software tool that reduces the dynamic range of an audio signal. The dynamic range of an audio signal is the difference between the loudest and softest parts of the signal. A compressor reduces this range by attenuating the level of the loudest parts of the signal, while leaving the quieter parts relatively unchanged. This process is commonly known as compression.

How does Compression Work?

Compression works by applying gain reduction to the loudest parts of an audio signal. When an audio signal exceeds a certain threshold level, the compressor will reduce its gain by a specified ratio. For example, a 2:1 ratio means that for every 2 decibels (dB) above the threshold, the compressor will reduce the gain by 1 dB. This means that if the input signal exceeds the threshold level by 6 dB, the output signal will only be 3 dB above the threshold.

The attack and release times of the compressor determine how quickly the compressor reacts to changes in the input signal level. The attack time is the time it takes for the compressor to start reducing the gain after the signal exceeds the threshold, while the release time is the time it takes for the compressor to stop reducing the gain after the signal falls below the threshold.

The ratio, threshold, attack, and release times can all be adjusted to achieve different levels of compression. A higher ratio means more gain reduction, a lower threshold means that the compressor will start working at a lower input level, and faster attack and release times mean that the compressor will react more quickly to changes in the input level.

Uses of Audio Compressors

Audio compressors are used in a variety of applications, including music production, broadcasting, live sound reinforcement, and post-production for film and television. Here are some common uses of audio compressors:

Leveling Vocals

Compressors are often used to level out the dynamic range of vocal performances. This ensures that the quieter parts of the vocal are heard in the mix, while preventing the louder parts from overpowering the other instruments. By using a compressor with a fast attack time and a slower release time, a vocal performance can be made to sound more consistent in level and easier to mix.

Controlling Bass

Bass instruments can be difficult to mix, as their low-frequency content can often mask other instruments in the mix. A compressor can be used to control the level of the bass, making it easier to hear the other instruments in the mix. By using a compressor with a slow attack time and a fast release time, the initial attack of the bass can be preserved while reducing the level of sustained notes.

Taming Transients

Some instruments, such as drums and percussion, have sharp, transient peaks that can be difficult to control. By using a compressor with a fast attack time, these peaks can be tamed, allowing the overall level of the instrument to be increased without causing distortion or clipping.

Broadcast Limiting

Broadcasters often use compressors to limit the dynamic range of their programming. This ensures that the program material is consistent in level, regardless of the source material. By using a compressor with a high ratio and a fast attack time, the dynamic range can be reduced without affecting the overall level of the program material.