Karaoke Forums

Starting to KJ. So, I invested in a DBX 266xl, Numark CDN25, and VocoPro KJ-7800.  I'm running my 266xl (in stereo mode) out of my mixer into power speakers. Can somebody help me with "a starting point" with the knobs.  I know, I will need to tweak them.  But I need a starting template first.  Hell, if you could just take a picture of your 266xl with the knob settings.  LOL   I never really push my speakers because I don't have to.  Power Mackie tops and subs!  But I do not want any singers damaging my speakers.

THANKS:)

I never tried a comp with an auto feature...How well does that work, Lonman?. I'm considering replacing my 3630. How does the DBX compare? My Art Pro channel has a comp built in, but I only plan to use it when recording. If the auto feature works well, I'll replace the 3630 so I'm not riding the comp gains so much between singers.

Thanks Lonman,

 Couple more questions.

1. "Expander/Gate" has two knobs: Threshold and Ratio.  Where should those knobs be turn?

2.  On The Compressor, where should the Threshold knob be turn? Also should the Overeasy button be turn on?

All of your expertise is appreciated!! THANKS AGAIN

Lonman as usual youn are giving good advise The only thing I can add in the excitement of the situation unless a singer is screaming I am comfortable with the fact that if only one or 2 red lights are blinking I am close to to the right settings... Do you find this also?

Took your advice!  Moved the 266xl.   Using it just for vocals.

Thanks

I had a gig last night set it up (vocal to 266lx to mixer).  Huge hum sound?  Switch it back (Mixer to 266xl to speakers). NO hum sound!  What gives?  

Need your help..  thanks

I had a gig last night set it up (vocal to 266lx to mixer).  Huge hum sound?  Switch it back (Mixer to 266xl to speakers). NO hum sound!  What gives?  

Need your help..  thanks

You posted links to discussions in a guitar forum related to use of compressors on guitar....Where in those links does it discuss the use of a compressor in a mic signal chain?...Or in any way relate to his question/problem?

Please explain it there is any info in those links related to this thread.

A compressor narrows (compresses) the dynamic range. It normalizes volume, not "tone" per se.

Signals hitting the compressor at levels exceeding a specified threshold have their volume reduced by a specified ratio. As the signal level comes back toward the threshold, the compressor releases its hold allowing the signal to decay naturally.

Often, the threshhold and ratio are user settable. Some compressors allow the user to specify how quickly the volume is compressed, as well as how quickly it is released.

Imposing very high ratios of compression, where the volume cannot exceed the threshold and the compression kicks in very quickly, is known as "limiting." Thus, you'll often see compressors called "compressor/limiters".

By compressing the signal, we increase the amount of time that its volume stays within a narrowed range by never letting it get above the threshhold; thus, we are increasing sustain. Also, by limiting the dynamic range and incorporating some boost to the signal, we can increase the overall level of volume before distortion kicks in. This can be handy for playing clean and still cutting through a mix.

Conversely, an "expander" increases the loudness of a signal approaching a given threshold by specified ratio. In expansion, as the signal decays, its volume is boosted back toward the threshold until it has decayed enough that the expander lets it die or kills it. Extreme "downward" expander settings, which very quickly cut signals that fall below a specified threshold, are called "gates." This is how "noise gates" work.

An Expander is used as a noise eliminator. The threshold allows one to set a spot below which the signal is expanded downward to a certain or variable ratio. The process is actually downward noise expansion, or variable soft-edged gating. Typically the threshold is set somewhere near the point the natural decay of the incoming notes is beginning to blend into hiss (the noise floor).

As far as the Behringer settings go, do what sounds best for the incoming program material. I assume that fast and slow are release time, but not knowing the Autocom firsthand couldn't advise you what their times are like, and whether they were well chosen. But your ear can: just listen for side-effects and pick the one that is the best compromise of cleaning up noise, and affecting the envelope of the bass notes. On similar equipment I have used, the fast settings often are used for single instruments, and the slower settings for a [sub]group or an entire mix.

In the Compressor section the knob you must be asking about is also Threshold; you indeed set this where you want compression to kick in. If you are mainly wanting to control peaks, set it high and use a high ratio. If you want a subtle compression on almost all notes, set a lower threshold and milder ratio.

Again, the key is to experiment, and hopefully you will get to grow your ears in the bargain. Look around for recording magazines and white papers on audio sites, etc. Even after lots of reading, it still comes down to taking what you understand now, and then listening. That's paramount.

Use the exciter with that in mind, attempting to not go beyond replacing some high end that might have been precieved as missing, without getting into ear-fatiguing, unnatural amounts, unless you of course want to use an artificial sheen occasionally as an effect.

I'm using XLR.  I don't think it is a ground loop. That was my first thought.  I may be wrong but if it was a ground loop it should have still hummed when I switch it back (mixer/DBX/speakers).

'm using XLR.  I don't think it is a ground loop. That was my first thought.  I may be wrong but if it was a ground loop it should have still hummed when I switch it back (mixer/DBX/speakers).