dbx AFS224

24 fixed or variable filters, programmable between 1/5 and 1/80 1/10 1/20 octave

digital camera, but no digital i / o

no adjustment of gain or input output level

UTILIZATION

Tedious configuration.

I've had two years, an output scores, and I still need the doc to set it. It's like back in the 80s:

no LCD, dedicated diode even to different modes. Only 3 buttons per channel and according to their color, they mean one thing or another. And of course, if kept for 3 seconds, the function is different. Printing adjust a quartz watch ...

Fortunately the manual is well done, and it is written from the perspective of the user, not the engineer who designed the gear:

it describes the steps required to program it to a live, not the functions one at a time ... that's good.

and the camera is more logical. It's just the user interface that is abused (not to say shit). 4 or 5 more buttons, or LCD and the camera is just perfect.

and once set in the balance, it just works during the concert.

SOUND QUALITY

Filters work very well, and they react to one quarter of a turn, even in 1/80 octave.
It effectively suppress feedback

on the other hand, if too many filters operate at the same time, the sound becomes very unpleasant, metallic ...
Normal at the same time, 24 filters, although they are all set to 1/80 octave, it's still heavy damage.

And then the camera application to work between 0 and 10 db (it goes up to 18db, so its is -18 to -8 dB full scale)

suddenly, it is easily clipping if we set the input level cold balance, when the filters are setting.

So the quality is good, if one monitors what you are doing

OVERALL OPINION

I use it for 2 years, and I find it correct.

DSP is very good, very effective.

on the other hand, it lacks a lot of things on the front and rear.

1) of the knobs of input and output gain. (Found on all multi effects)

the main use of this rack is the output returns to the singers and acoustic instruments.

So the unit has to work at -18 / -8bd, it is adjusted it via the master. and then after, well he went to the back, and there can be more manage the overall level of returns except to insert an electronic stage exit. (Kind of a preamp that is not used, set to line-in, and just serves as a knob level).
or he must start to send to a channel strip when not in use, and put the DBX insert in this installment. It then sends the signal to return via the live release out, and adjusted the level fader.

2) a few buttons and LED or LCD 1 to better communicate with the user

Again, the setting is tedious, but live, it runs by itself.
but hey, sometimes not that much to do in the balance.
I make the sound of a cover band, zicos 7 + 4 singers / singers.
Between the director and stage manager assembly (all analog) and concerts begin at 19:00 for a drink, it was not always 2:00 balance, we are quickly running late.
And there zicos hallucinate when they see you out the instructions, (

3) digital inputs / outputs


In short: It's not bad for the price, this module, but be aware of its limitations and shortcomings.

If it again, I still testerais competition.
Behringer, I think so too, but I throw a look at Sabine in secondhand.
At the same time, less than 200 €, do not dream ...

It is an automatic feedback suppression.
It does nothing else.
Stereo (or dual mono), 24 filters per channel width of 1 / 80th octave minimum

Two modes: static and dynamic (we choose the number of static filters and the number of dynamic filters)
4 widths: 1 / 80, 1 / 20, 1 / 10 or 1/5th octave
4 times to maintain the dynamic filters: Always, 10s, 10m, 60m
Connectors XLR and 1 / 4 "TRS, outputs +4 dBu or-10dBV

Inside, it is necessarily digital. Hence the regret of not being able to insert directly into digital. Why having to go through stages of AD / DA?

Unlike Berhinger, there's no MIDI, so no possibility to backup and reatsurationd es settings. Damage. It could serve as a basis when we return in the same room with the same sound system ...

UTILIZATION

Simple? Well if you want.

Each button has several functions, and unless you have the habit is not easy to remember. As for me, I needed the user manual each time.

Anyway, once resolved before benefits, it is left over. This is the principle and interest ...

Some manipulations, always the same, before the concert to set the static filters, thus eliminating the main larsen (thereby increasing the level) as you would with a graphic EQ, then the rest is useful only live, to remove " accidents ", type the singer who goes to the HP, in the enthusiasm of the atmosphere, micro falls, etc..

SOUND QUALITY

I use the voice returns, as an insert on the Aux on my Yamaha DM1000.

That is important to insert because the device does not work, yet close to the nominal level, so if we want to solve the global level, keep the master fader Aux dbX after. If we put the dbx output before the amp, it should adjust the level on the amp, which is not practical-amps are usually near the stage.
Am I clear?

Sound quality? Well, when it is inserted, you do not hear it. It is the goal, right?

OVERALL OPINION

So, that's the taf.
Pretty good, I think.

But let's be clear: this is the kind of gear, it works well, we should not hear it! Therefore, not easy to get an idea ...

And also: do not expect miracles - miracles do not exist!
So it will not save you work to adjust the sound system, microphones, the position thereof relative to sources, HP and reflections of the room, and finally taking the time to remove larsen patiently here with automatic filters - with verification that the sound does not become a mush - which indicate a need to move / change sth ...

And automatic filters, they are especially useful when the benefits to avoid hiccups: a singer who moves a little too much, which, in the enthusiasm, lets hang the mic, mic falling ...

I used it on two gigs so far.
In the second, with a Neumann KMS105 on a stage big enough and sound levels ... we will say 'important' on stage (group Cover Red Hot, young, who "clap!"), the singer said he had never been "comfortable" level returns scene. And he still made more than 30 concerts this year, back-room coffee festival in front of 1000 people ... So let's say he has some experience.
By listening again to the recording means qq separations of feedback at high frequencies (3 to 1:30) that are automatically deleted by the AFS.
Well, then.

It is still a comfort to have the gear in case of surprise.
And settings pre-concerts are usually less destructive than EQ ...

Too bad he did not I / O Digital I find.

To be continued!