Specifications
21
Cross-Overs & Other
BSS & dbx Signal Processing
signal processing
analogue
XLR balanced ins and outs •
Mode switch for stereo 2-way, •
3-way or mono 4-way
Low frequency summed output •
x10 range switch on both •
channels
40Hz high pass filter •
Phase reverse switch on all •
outputs
Individual level controls •
24 dB per octave Linkwitz-Riley •
filters
Stereo/mono status LEDs•
dbx 234XL Stereo 2 or 3-way, Mono 4-way Crossover
XLR balanced ins and outs •
Mode switch for stereo 2-way or •
mono 3-way
Low frequency summed output •
x10 range switch on both •
channels
40Hz high pass filter •
Phase reverse switch on all •
outputs
Individual level controls •
24 dB per octave Linkwitz-Riley •
filters
Stereo/mono status LEDs•
dbx 223XL Stereo 2-way, Mono 3-way Crossover
dbx’s patent-pending •
technology
24 programmable filters per •
channel
Stereo or dual independent •
Live and fixed filter modes•
Selectable filter lift times •
Application-specific filter types •
include: Speech and Music Low,
Med and High
Input channel metering •
24 LED metering •
XLR and TRS inputs and •
outputs
dbx AFS224 Advanced Feedback Suppressor
TECH-TIPS
What is the difference between feedback suppressors?
All feedback suppressors are not the same. A feedback suppressor notches out the offending frequency by cutting the level of that frequency. But how
many non offending frequencies around the offending frequency are affected by that filter?
This graph shows the difference in filter quality between Behringer, Sabine and the superior dbx filter. As you can see the dbx is much narrower. It removes
far fewer of the surrounding frequencies than either of the competitors. This equates to a far smaller hole in the frequency response when feedback is
being addressed by the processor.
Frequency (Hz)
Amplitude (dB)
900 920 940 960 980 1000 1020 1040 1060 1080 1100
-20
-15
-10
-5
-0
dbx
Sabine
Behringer
S
dbx
B
1/3 octave EQ