Karaoke Forums

Hi folks,

I just bought a dbx 1046. It was a steal on ebay, brand new incl. shipping $376.
Anyway, I never used a compressor, so I did some reading on it.

1. As far as I understand, the compressor has to be connected to the mixer through the Inserts of my mixer. Is this correct?

2. The dbx 1046 offers XLR and 1/4" connections. My mixer has 1/4" Inserts. So does it make a difference between using 1/4" to XLR or 1/4" to 1/4"?

3. Here's the back of my mixer:
http://www.peavey.com/assets//images/ad ... 2400_6.jpg
I have for microphones connected on Channel 1,2,3 and 4. Which connections would I use for the compressor?

Sorry for those dumb questions, but I have no experience with a compressor. I just finally got the idea of what it actually does and think, it will serve me well at my KJ shows.

I haven't had any luck opening that image. But chances are your mic channels have inserts. You will need an insert cable. Such as
http://www.sweetwater.com/store/closeup/STP201--Main
It will have a stereo (TRS) plug 1/4" at one end & two mono (TS) 1/4" plugs on the other one marked tip, the other marked ring. Do not confuse it for a plain Y connector, it's not.

Connect the TRS end into the insert of the mic channel. The 'tip' end will go to the input of one channel on the dbx, the ring end will go to the output of that channel. You have now properly inserted your compressor into the mic path. Repeat for the other 3 mics. As for the +4/-10 button on the back, chances are -10 will be fine. Try the +4, if it seems distorted in any manner, then switch back to -10.

Adjustments are going to different for every system.
Try a basic setting of
Threshold between -10 halfway between that & zero.
Overeasy button engaged.
Ratio I usually use around 3:1 for vocals.
I/O meter - not crucial, but would set it for output.
Output gain - you want the output to be about the same volume if the compressor was bypassed. So do a back & forth comparison & adjust the output of the processed signal to match the volume of the unprocessed signal.
Limiter - you don't want to cut off all dynamics, but it is really good for those screamers. You can play with this - possibly will adjust throughout the night with different singers.

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Thanks Lonman! You're the man

So there is no difference if I use the XLR or 1/4" on the compressor side?

I attached the image to this post. Peavey's website has it's up and downs today for some reason.

Just found this:

http://www.guitarcenter.com/Live-Wire-4 ... 1166809.gc

Since I have 4 mics, can I use that cable?

For this purpose, the XLR isn't going to be of great benefit. It's more for systems that don't have inserts on their channels or going directly inline.

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Yep! Just make sure you keep the colors of the cables in check.

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I think, I can handle that.

Thanks again, I really appreciate your input here in the forums!

Ok, I'm about 2 hours in my show now, the first time ever with the compressor... and MAN, I LOVE THIS THING!!

Makes my life so much easier. If you don't have one, you really need to get one!

You started off with one of the better units on the market as well. Glad it's working out like you hoped!

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I wish there was a "Compressor for Dummies" article somewhere. I still don't fully understand all the functions.

Another thing I noticed, in all the articles I found so far they talking about attack and release time, but I can't find anything on my dbx 1046 regarding that.

That is odd isn't it. Apparently the 1046 is designed to be more fool proof than a traditional Compressor. From what I can tell it looks like the attack and release are part of what DBX calls their "PeakStopPlus™ Level Control" and would depend on how aggressive it is set. I assume you are using the "Overeasy" on your DBX. In that mode the unit will be very forgiving. Compression , if used correctly is a wonderful thing, if not used correctly it can cause a whole host of problems.

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Quickness of mind will deceive the eye

Surprisingly, for a top flight compressor, the 1046 doesn't have all the twiddly bits (knobs) such as attack, release etc, so beloved by the 'pros'. That said it is perfect for 'set and forget' situations. I believe DBXs blurb states that the unit's performance/operation is program dependant and so adapts to the input. The peak stop is great for the shouters. I have my peak stop set at minimum and the DBX is placed in the first four channel mic inserts of my CFX12.
Congratulations you've bought a great unit 'as recommended by the pros'.

GH

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Attack & release are going to be more for instruments in a set level rather than multiple vocals.

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Most of the 'top flight' sound engineers for bands i've worked & trained with prefer the dbx 160x/xl/a for their vocal & bass/kick/snare compressor. These have nothing more than a threshold/ratio/output adjustment - just like the 1046 which is based on these models. attack & release are better for set input levels for intruments & studio use.

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When used for ducking attack and release has a drastic effect.

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On a modern compressor you usually want to run auto attack/release anyway. You really have to know your program material and be well-choreagraphed to do any differently.

The important things are onset threshold and ratio. I always use -10db for onset, and find that for good singers with normal dynamic range 2.5 : 1 is best for ratio. For poor singers I tend to use 4:1, and for singers that are good but who tend to go from very soft to very loud, I run 5:1. For mic cuppers I use 7:1.

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[color=#ffff55]Mickey J.[/color]
Alas for those who never sing, but die with all their music in them.
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Thanks everyone!

@ LondonLive: Yup, Overeasy is engaged.

@ mcky: Thanks for those examples. That is something I can work with. I will try to follow that at my next show.

How would you go about the guy, who holds the mic at his chest and doesn't have that much of a voice either? Turn up the gain and go to somewhere around 7:1, too?

Does it make sense to adjust slight volume changes on the Output Gain on the dbx?

When it's that bad, I actually gently tell them to move the mic closer to their mouth or make a motion to do so.
There's only so much a sound tech can do. If they don't know how to use a mic, I condsider it my job to educate them, albiet gently and tactfully.
The other one I will step in over is guys (yes, so far it's exclusively guys!) who cup the mic, end up covering the whole thing and create feedback. They obviously think that's the "cool" way to hold a mic and are trying to emulate their favorite performer.
Microphones have a handle for a reason.
It's a shame to let them carry on thinking they know how to use a mic when they really don't, and in the end, serves to improve their overall karaoke experience if they learn the RIGHT way to hold and use a mic. It's something they can take to the next show, should they choose to do so.

I always try that first. I usually grab another mic, position myself in a way they can see me, without interrupting their singing and show them with an encouraging look on my face, how to hold the mic. Some of them actually move the mic up, only to have it down a moment later again.

Reminds me of a funny story. I had one guy doing exactly that, holding the mic way down, etc. Anyway, he complains in between the song, that his mic is to low on volume. I told him like 3 or 4 times to hold the mic up and straight in front of his mouth. (I use Shure Betas). He wouldn't move and you couldn't really hear him at all. The Gain was up to the point right before Feedback occurs.

After he's done singing, he walks back to his girlfriend and I overhear him complaining about the a$$hole KJ, that I wouldn't turn him up, etc. (I have really good ears ). So I walked over and told him as friendly as I could, that I really didn't turn his mic down and tried to explain the proper mic handling again. And to prove to him, that I really didn't turn him down, I handed the same mic, he was using to the next singer and told him to watch/listen. I wouldn't touch the mixer, so he can see, how much volume I gave him.

Now here's the funny part: The next girl starts singing and of course, the vocals are overwhelming. Now I think, he got the message. Instead he said, that I would mess with him and what a big a$$ I am and wanted to fight me. Altogether 3 times that night!!

The bartender stepped in twice and told him, he needs to leave, if he doesn't stop causing trouble.

The last one was the funniest one: He walks by me, after all those warnings and whispered in my ear: "I'm going to the bathroom now. I expect you to be there shortly after. Just YOU and ME!". So I turned around around with an absolute square face and told him, that I'm absolutely not into men, sorry.

Needless to say, he got kicked out a minute later after losing his temper completely.

HAHAHA! EXACTLY what I would have done!



When that happens, I keep encouraging them and then pull them aside afterwards and explain to them that they MUST sing into the mic to make it work, and that when they pull it down so far, they miss out on a lot of dynamics to their voice. I tell them how it sounds so much fuller rather than thin when they don't sing into the mic.
I also let them know about the risk to creating feedback and that will usually get to them more than anything. NOONE wants to know they are the cause of feedback!
The people that have this habit are generally not comfortable with the sound of their own voice and this is why it happens. They are generally fairly new to karaoke and if not, then the hosts that they previously worked with have allowed them to develop the bad habit.
Some, you just have to keep on them and they eventually get it.
Others, like your "friend", there's just no hope for.
Too bad there's no law against being stupid.