It will transform their low level output signal to a high level, high current output for direct connection to the line level inputs of your mixer, sampler or any other recording medium that accepts line level, analog input.…, Sound Technology Ltd Letchworth Point Letchworth Garden City Hertfordshire SG6 1ND. We have placed cookies on your device to help make this website better. It is a close reproduction of the. Two compression modes cover drums, vocals, strings, piano, guitars, and more. It’s also versatile enough to go from subtle compression to "brick wall" peak limiting. There’s a real art to getting things right with this particular tool and you need decent speakers and/or headphones to hear what’s going on. Each control is independent but they do affect each other and things can get pretty… erm… bassy down there pretty quickly with this device. Your email address will not be published. dbx has a much-heralded history with modular processors dating back to our 900 Series, and the 560A continues that tradition. Sound Technology’s professional audio products are specified and supplied by leading resellers and integrators throughout the country, together with a select number of trade distributors. I’ve recorded guitars and drums with it and it does the job really well. Otherwise, we’ll assume you’re OK to continue. There were a few loose ends to tie up, namely the other four 500 series modules alongside it, so we’ll be dining out of the dbx lunchbox and digesting the very affordable 510 Subharmonic Synth, 520 De-Esser, 530 Parametric EQ and 560A Compressor Limiter. And, the dbx 560A's unique "INFINITY +" inverse-compression mode actually decreases the audio output level below unity gain when the input exceeds threshold, a real lifesaver for correcting overbearing vocal choruses and controlling runaway mix levels. We also use some non-essential cookies for web statistics purposes (counting visits to our website). And, the dbx 560A's unique "INFINITY +" inverse-compression mode actually decreases the audio output level below unity gain when the input exceeds threshold, a real lifesaver for correcting overbearing vocal choruses and controlling runaway mix levels. Two band controls dial in frequencies between 36-56Hz and 24-36 Hz and are flanked by their own three LED gain meters, while below are controls for adding subharmonics and low frequency boost. The upper and lower bands can also be switched to shelf mode and there’s a bypass switch and a peak LED at the top of the faceplate. Put your overly bright, cheap and nasty modern condenser recorded vocal or spiky 4kHz-heavy acoustic guitar signal through this device, set your de-essing threshold and your amount controls to around midday and hit enable… job done. Again there is a very large debt being paid here to the 900 series via the 905 EQ and that module’s modus operandi is exactly reproduced here. Personally I favour the ‘over easy’ sound and the abilities of the 560A as a relatively transparent dynamics controller rather than a ‘smash ’em up’ colour box. Sometimes this only becomes clear when you hit the bypass button and hear what the original sound actually was. DBX-160 (A,X, etc) is a good basic tool that does a fine job of dynamics control. You can use this tool to change your cookie settings. Choose low ratios and OverEasy compression to expertly smooth out fluctuating vocal and instrumental levels, or use the 560A's Hard Knee compression and high ratios for bombproof protection against overload distortion in digital recording, P.A. However, be warned that this module has the ability to really mess up your signal path with excessive frequencies below 50Hz.

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