DBX 223XL or Behringer 2310 crossover?

DBX 223XL or Behringer 2310 crossover?

Thanked 1 Time in 1 Post Rep Power Originally Posted by metalj hello, can anyone give me some advice on properly connecting a crossover. I use a carvin powerd mixer. Do i jsut hook the left and right main outs to the crossovers inputs, then out to my external power amps? Then here is the kicker, how would i hook a crossover into my mixer using the internal power amps? I would use this for a smaller show and rehersal since most of the band goes direct for rehersal, i think it would clean up our sound a little using the crossover. I love you all spoken like ozzy metalJ Yup, that’s how you do it. They do have separate inputs for high and low, right?

PAS SPEAKERS WITH AMP RACK AND DBX CROSSOVER

Our sound system runs two separate xl crowns individually to 2 srx subs hpl speakers. Amps are run bridged and have been connected to “discrete” inputs on cabinets I think this is More than likely you have lost the speakers You sent TOO much power to them and likely the voice coils have heated and distorted and are rubbing the pole pieces and hanging up on them.

Is it possible to hook the compressor into a main insert that way it can compress throughout all the channels instead of just one? Hakeem Caldwell 3 years ago how do you set up this with XLR cables – foot snake 16 channels.

Ok, you’re way over-thinking this. Forget paralleling them down. If you need more wattage, buy bigger amps. Remember, each amp is really 2 amps in one box. You’re using all the power of each of the two amps in the one box for each of the two speakers. You can get “more power” by using them in bridged mono, which essentially “doubles” the power – but then by putting two cabs on it, you’re “losing” some, so it’s not exactly “twice as powerful”.

If the amps you have don’t have enough juice, you could try running them in bridged mono mode. But if you’re going to run stereo as above which is simplest and you don’t have enough power, time to up the wattage.

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The IEM was designed with the simple purpose and vision of enhancing the sonic quality of all in-ear monitor applications, while providing the necessary audio level protection that artists and engineers require. The design team at dbx has achieved this vision by building a unit that offers effects including: Additionally, the IEM has been methodically designed with an intuitive user front panel which provides instant access to all of the effects within the unit at the push of a button.

From its road-worthy construction, to its professional features, such as a hand-selected 12AX7a vacuum tube to add warmth and tone to any microphone signal, selectable 48 volt phantom power, dB Pad and Phase reverse switch, the Vacuum Tube Mini-Pre has the features that you would expect from any other professional studio microphone preamp, at a price that would have been unthinkable just a few years ago.

Add selectable sampling rates up to 96kHz and bit, selectable dithering and noise shaping; and separate analog and digital output controls to this already impressive list of features, and we think you’ll agree that the lives up to the uncompromising standards of dbx Professional Products. The iEQ-Series represents a major step forward in the performance of graphic equalizers.

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How do I hook up a mixer to the rest of the system? What jacks are best to use? How do I use graphic equalizers? What are compressors used for? How do I use groups? How do I set up monitor mixes?

Bi-amping using tube and solid state

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He told me about the DBX s Mic Preamp Processor/Gate Limiter. After trying one to see how well it would work in my setup, I immediately ordered three more for my studio. After trying one to see how well it would work in my setup, I immediately ordered three more for my studio.

For me, that means: Always install cable guides on both sides of the rack. Always install AC power power to the side of the rack Be diligent about using appropriate cable management velco wraps, zip ties, etc. Have the discipline and patience to use the right length cable for everything in the rack note that right length cable isn’t determined by what you have handy.

Take the time to label cable ends so that if you have to pull ’em out – you can easily tell where it needs to go back to without having to “chase” the cable through secured cable bundles. Document the finished product! Nothing ruins a neat and tidy rack quicker than jostling every cable in the unit as you try to figure out what is connected to where two years after it was initially wired up. Put a copy in a manilla envelope – and staple it to the wood somewhere inside the rack!

I suspect some of the old salts who are constantly repackaging gear in order to keep “systems” on the job will tell you that my items 6 and 7 are a bit over the top. For those of us who are putting together our “personal” band rigs – which is hopefully going to stay wired for the foreseeable future – labeling and documentation can be a lifesaver!

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It is not the speaker we switched them not the You have to double check the cable from Ipod to PA system. Most probably the audio out cable from ipod is not correclty fitting the output port of ipod.

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August 13, 4: There are two different kinds of effects: Use a Y splitter if the return is stereo. Pre-fader aux sends are for monitor amps and speakers for performers A send effect can be used with all of your sound sources. Use the send controls to adjust how much of each gets sent to the effect. If you want the insert device to affect all signals, put it in a bus insert, output insert, or after the mixer.

I know that sr mixer. It has channel inserts needs special cable and mixing bus inserts. If you want EQ on a stereo mix, you must have a stereo EQ unit. Share August 13, 4: Aux sends 1 and 2 are pre-fader monitor sends. They are for providing monitor signals for the performers through monitor amps and speakers. These do not change their outputs when you move the channel faders.

DJ Setup Using A Crossover And 2 Amps

Whether your room can accommodate these panels is the first thing to consider. As discussed in the OB7 file, a more optimal placement would probably be like this: What’s seen above to the right is well on accordance with Gilbert Briggs’ recommendation for the SFB – way back in the Fifties. No wonder professionals sometimes shake their heads hearing NFB triode nerds praising their trade. Before getting into details, here’s the recipe: After numerous experiments with passive crossovers between bass and mid drivers, I gave it up.

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Thanked 0 Times in 0 Posts Rep Power Originally Posted by redwolfie Hi, I understand that I need to read up on how to hook all these equipments for optimal performance however, I’m just looking for some baseline settings to work with. I’m sure the Alesis has some vocal oriented presets already but it might be cool thing to program each side with a completely different effect then experiment with different blends of all 3 on each channel ex: Look up how to properly set this in your mixer manual.

If you dont have a manual for any of the products you own most can be freely downloaded from each companies website and are probably the best place to start when seeking answers to most of what your questions. Also, manuals often have easy to read hook up diagrams that cover using them with other gear. Half the battle is just learning your equipment and the other half will be more a trial and error process on your part. Since mixing and rack gear is modular, effects possiblilities are endless, and all rooms are different its really difficult for anyone to tell you what your exact configuration and settings need to be.

Why Every Podcaster Should Be Using a DBX 286s Mic Processor

This will be a long response. If we look at pure Bi-amping an example would be a two way speaker, say crossed over at Hz like an A7 Alec. What we need is two amps, one for the woofer and one for the tweeter-mid horn.

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Connecting Seismic Audio Aftershock sub, DBX 223, K3000FX & Xenyx QX1222usb


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