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Harman dbx 676 Owner'S Manual Download Page 13

11

676

TU B E  M I C

CHAN N E L STR I P

EQ Example Settings

The below settings are designed to be used as a starting point. Your results using these settings will vary depending on the 
variables inherent in your application. For best results, adjust the settings to suit your application as described in the section 
following the below examples.

LEAD VOCALS

ACOUSTIC GUITAR

MIKED ELECTRIC GUITAR

DIRECT BASS GUITAR

PEAK

EQ

ENABLE

COMP/LIM

ENABLE

NARROW

CONTOUR

SIDECHAIN

ENABLE

OVEREASY

DIGITAL
OUTPUT

POWER

|

20dB

PAD

+48V

POLARITY

INVERT

80 Hz

LOW CUT

+

0

–

PEAK

LIMIT

GAIN

dB

+55

+25

+50

+40

- 

∞

POST TUBE

ATTENUATION

dB

- 

∞

0

-30

-5

-15

LOW

dB

-15

+15

0

MID

dB

-15

+15

0

HIGH

dB

-15

+15

0

AUTO

RELEASE

dB/sec

4k

10

400

1.5k

70

ATTACK

dB/msec

400

80

200

10

1

LIMITER

dBu

RED: 96kHz

GREEN: 48kHz

YELLOW: 44.1 kHz

-4

+2

+18

+10

OFF

THRESHOLD

dB

-40

0

+20

-10

-20

-30

+10

RATIO

1:1

∞

:1 

1.5:1

3:1

2:1

1.2:1

8:1

MAKEUP

GAIN

dB

-20

+20

0

-10

+10

INSTRUMENT INPUT

ENABLE

CLAS

S “

A

” V

A

CU

U

M TU

B

E WITH H

IG

H V

OL

TA

G

E GAI

N

METER SELECTION

INPUT

OUTPUT

G.R.

FREQ

Hz

1k

100

8k

200

2k

PEAK

EQ

ENABLE

COMP/LIM

ENABLE

NARROW

CONTOUR

SIDECHAIN

ENABLE

OVEREASY

DIGITAL
OUTPUT

POWER

|

20dB

PAD

+48V

POLARITY

INVERT

80 Hz

LOW CUT

+

0

–

PEAK

LIMIT

GAIN

dB

+55

+25

+50

+40

- 

∞

POST TUBE

ATTENUATION

dB

- 

∞

0

-30

-5

-15

LOW

dB

-15

+15

0

MID

dB

-15

+15

0

HIGH

dB

-15

+15

0

AUTO

RELEASE

dB/sec

4k

10

400

1.5k

70

ATTACK

dB/msec

400

80

200

10

1

LIMITER

dBu

RED: 96kHz

GREEN: 48kHz

YELLOW: 44.1 kHz

-4

+2

+18

+10

OFF

THRESHOLD

dB

-40

0

+20

-10

-20

-30

+10

RATIO

1:1

∞

:1 

1.5:1

3:1

2:1

1.2:1

8:1

MAKEUP

GAIN

dB

-20

+20

0

-10

+10

INSTRUMENT INPUT

ENABLE

CLAS

S “

A

” V

A

CU

U

M TU

B

E WITH H

IG

H V

OL

TA

G

E GAI

N

METER SELECTION

INPUT

OUTPUT

G.R.

FREQ

Hz

1k

100

8k

200

2k

PEAK

EQ

ENABLE

COMP/LIM

ENABLE

NARROW

CONTOUR

SIDECHAIN

ENABLE

OVEREASY

DIGITAL
OUTPUT

POWER

|

20dB

PAD

+48V

POLARITY

INVERT

80 Hz

LOW CUT

+

0

–

PEAK

LIMIT

GAIN

dB

+55

+25

+50

+40

- 

∞

POST TUBE

ATTENUATION

dB

- 

∞

0

-30

-5

-15

LOW

dB

-15

+15

0

MID

dB

-15

+15

0

HIGH

dB

-15

+15

0

AUTO

RELEASE

dB/sec

4k

10

400

1.5k

70

ATTACK

dB/msec

400

80

200

10

1

LIMITER

dBu

RED: 96kHz

GREEN: 48kHz

YELLOW: 44.1 kHz

-4

+2

+18

+10

OFF

THRESHOLD

dB

-40

0

+20

-10

-20

-30

+10

RATIO

1:1

∞

:1 

1.5:1

3:1

2:1

1.2:1

8:1

MAKEUP

GAIN

dB

-20

+20

0

-10

+10

INSTRUMENT INPUT

ENABLE

CLAS

S “

A

” V

A

CU

U

M TU

B

E WITH H

IG

H V

OL

TA

G

E GAI

N

METER SELECTION

INPUT

OUTPUT

G.R.

FREQ

Hz

1k

100

8k

200

2k

PEAK

EQ

ENABLE

COMP/LIM

ENABLE

NARROW

CONTOUR

SIDECHAIN

ENABLE

OVEREASY

DIGITAL
OUTPUT

POWER

|

20dB

PAD

+48V

POLARITY

INVERT

80 Hz

LOW CUT

+

0

–

PEAK

LIMIT

GAIN

dB

+55

+25

+50

+40

- 

∞

POST TUBE

ATTENUATION

dB

- 

∞

0

-30

-5

-15

LOW

dB

-15

+15

0

MID

dB

-15

+15

0

HIGH

dB

-15

+15

0

AUTO

RELEASE

dB/sec

4k

10

400

1.5k

70

ATTACK

dB/msec

400

80

200

10

1

LIMITER

dBu

RED: 96kHz

GREEN: 48kHz

YELLOW: 44.1 kHz

-4

+2

+18

+10

OFF

THRESHOLD

dB

-40

0

+20

-10

-20

-30

+10

RATIO

1:1

∞

:1 

1.5:1

3:1

2:1

1.2:1

8:1

MAKEUP

GAIN

dB

-20

+20

0

-10

+10

INSTRUMENT INPUT

ENABLE

CLAS

S “

A

” V

A

CU

U

M TU

B

E WITH H

IG

H V

OL

TA

G

E GAI

N

METER SELECTION

INPUT

OUTPUT

G.R.

FREQ

Hz

1k

100

8k

200

2k

Setting The EQ

1� 

Engage the 

EQ ENABLE

 button.

2� 

While monitoring the source signal, adjust the 

LOW

 and

 HIGH

 knobs to tailor the low and high frequencies to your liking.

3� 

To adjust midrange frequencies, set the 

MID

 control to around the 3 o’ clock position or until the boost is quite noticeable. 

4� 

Sweep the 

FREQ

 control until you locate the mid frequencies you wish to alter. 

5� 

Set the 

NARROW

 button to the desired setting. For example, engage the 

NARROW

 button for applications where you 

want to affect less of the surrounding frequencies (such as when removing the low-mid mud from distorted electric 
guitars but want to retain the low-end body of the tone). Disengage the 

NARROW

 button for a broader, more natural 

sounding filter – for example, when boosting to add focus to the source.

6� 

Adjust the 

MID

 control for the desired amount of boost or cut. 

7� 

Audition the signal and try engaging and disengaging the 

NARROW

 button one more time to see which setting gets you 

closer to the desired sound.

8� 

Re-adjust the 

POST TUBE ATTENUATION

 control if necessary. For example, if you have applied ample amounts of 

EQ boost, the input PEAK LED may light, indicating that you need to lower the 

POST TUBE ATTENUATION

 control. 

Conversely, if you have applied ample amounts of EQ cut, you may want to raise the 

POST TUBE ATTENUATION

 control 

to compensate. In most cases, when applying subtle EQ, no adjustment or very little adjustment may be necessary.

Summary of Contents for dbx 676

Page 1: ...Owner s Manual 676 TUBE MIC CHANNEL STRIP...

Page 2: ...connection with the sale of this product In no event shall dbx or its dealers be liable for special or consequential damages or from any delay in the performance of this warranty due to causes beyond...

Page 3: ...Section 10 EQ Example Settings 11 Setting The EQ 11 The Compressor Limiter Section 12 Compressor Limiter Example Settings 16 Setting The Compressor Limiter 17 Parallel Compression 18 Application Guid...

Page 4: ...keep the mix clean and maximize headroom by eliminating subsonic plosives hum and microphone vibration noise The 676 s VCA compressor design was taken from the revered dbx 162SL and delivers smooth l...

Page 5: ...Attenuation Controls for Varying the Amount of Tube Drive 3 Band Semi Parametric EQ with Sweepable Mid Frequency Built In 162SL Style Compressor dbx PeakPlus Limiter LED Backlit VU Meter with Selecta...

Page 6: ...COMPRESSOR LIMITER output can be used for balanced or unbalanced connections Connecting to both XLR and 1 4 outputs simultaneously as shown in the below diagram is perfectly acceptable as long as the...

Page 7: ...and higher POST ATTENUATION settings For a tone with more harmonics and warmth use higher GAIN settings with a lower POST ATTENUATION setting 6 Once microphone selection and position have been decide...

Page 8: ...s is the EQ section see The EQ Section on page 10 for further information 3 Meter This LED backlit VU meter displays input signal level output signal level or the amount of gain reduction applied by t...

Page 9: ...rallel Compression on page 18 for additional information 5 Compressor Sidechain Insert Connector Connect an insert cable to this unbalanced connector to patch in another device for processing the sign...

Page 10: ...meant to be used in conjunction with the GAIN control For cleaner tones leave this control fully clockwise and raise the GAIN control until the desired level is achieved For richer tones lower this c...

Page 11: ...ENABLE 20dB PAD 48V POLARITY INVERT 80 Hz LOW CUT 0 GAIN dB 55 25 50 40 POST TUBE ATTENUATION dB 0 30 5 15 LOW dB 15 15 0 MID dB 15 15 0 HIGH dB 15 15 0 200 THRE 40 20 30 INSTRUMENT INPUT ENABLE CLASS...

Page 12: ...LLOW 44 1 kHz 4 2 18 10 OFF THRESHOLD dB 40 0 20 10 20 30 10 RATIO 1 1 1 1 5 1 3 1 2 1 1 2 1 8 1 MAKEUP GAIN dB 20 20 0 10 10 INSTRUMENT INPUT ENABLE CLASS A VACUUM TUBE WITH HIGH VOLTAGE GAIN METER S...

Page 13: ...AUTO RELEASE dB sec 4k 10 400 1 5k 70 ATTACK dB msec 400 80 200 10 1 4 2 THRESHOLD dB 40 0 20 10 20 30 10 RATIO 1 1 1 1 5 1 3 1 2 1 1 2 1 8 1 M 20 10 INSTRUMENT INPUT ENABLE CLASS A VACUUM TUBE WITH H...

Page 14: ...on What it really comes down to is how you prefer to work and which workflow allows you to best create your artistic vision The 676 compressor can be effectively used to apply the first round of tran...

Page 15: ...oaching the currently set threshold and is in the OverEasy region Some minor compression will begin to be applied in this OverEasy region and full compression will be applied if the signal level does...

Page 16: ...nals with excessive energy in the lower frequency region such as a bass guitar bass synth or kick drum When enabled this feature allows for faster attack times and higher compression ratios with less...

Page 17: ...iter off Note that the limiter will also be bypassed when the COMP LIM ENABLE button is disengaged The further the LIMITER control is turned counter clockwise the lower the threshold will be This limi...

Page 18: ...Hz GREEN 48kHz YELLOW 44 1 kHz 4 2 18 10 OFF THRESHOLD dB 40 0 20 10 20 30 10 RATIO 1 1 1 1 5 1 3 1 2 1 1 2 1 8 1 MAKEUP GAIN dB 20 20 0 10 10 INSTRUMENT INPUT ENABLE CLASS A VACUUM TUBE WITH HIGH VOL...

Page 19: ...atch the amount of gain reduction being applied Or audition the compressed vs bypassed signals by toggling the COMP LIM ENABLE button and set it so that the two signals are closely matched 8 If the si...

Page 20: ...used in today s audio production It is a particularly popular technique for drums vocals and acoustic guitar but it can be used on anything When applying parallel compression the idea is to have the c...

Page 21: ...x A signal processor can be inserted in the PREAMP INSERT Here you can connect a favorite compressor EQ or any other signal processor you wish to insert after the preamp PEAK EQ ENABLE COMP LIM ENABLE...

Page 22: ...to the musician s headphone mix A signal processor can be inserted in the PREAMP INSERT Here you can connect a favorite compressor EQ or any other signal processor you wish to insert after the preamp...

Page 23: ...y PEAK EQ ENABLE COMP LIM ENABLE NARROW CONTOUR SIDECHAIN ENABLE OVEREASY DIGITAL OUTPUT POWER 20dB PAD 48V POLARITY INVERT 80 Hz LOW CUT 0 PEAK LIMIT GAIN dB 55 25 50 40 POST TUBE ATTENUATION dB 0 30...

Page 24: ...sted to optimize the signal level feeding the 676 for best noise and compressor performance Application Notes This application requires that a normalled patch bay such as the dbx PB 48 be used This al...

Page 25: ...dio Path Instrument Input Compresor Output In Out Preamp Output 48V Phantom Power Mic Instrument Switch 20dB Pad Parametric EQ Audio Transformer Compressor Detector Tube Gain Stage 1 Tube Gain Stage 2...

Page 26: ...NPUT LEVEL dB OUTPUT LEVEL dB 15 10 5 0 5 15 20 10 1 1 Unity 2 1 4 1 1 20 1 RED Above Threshold GREEN Below Threshold Rotation Point Threshold 1 1 2 1 4 1 1 15 10 5 0 5 15 20 10 INPUT LEVEL dB OUTPUT...

Page 27: ...SOURCE DEVICE OUTPUT TO NEXT DEVICE INPUT TIP HOT SLEEVE GROUND HOT SLEEVE TIP HOT SLEEVE GROUND TRS PHONE TO TS PHONE FROM SOURCE DEVICE OUTPUT TO NEXT DEVICE INPUT TIP HOT RING COLD SLEEVE GROUND H...

Page 28: ...ch will impart different tonal and sonic qualities Although the 676 ships with a tube that suits various applications well finding the tube which imparts the qualities which best suit your taste can m...

Page 29: ...he factory there will be two fuses in this drawer The fuse located at the rear drawer position is the one currently being used in the circuit The fuse located in the front drawer position is the provi...

Page 30: ...28 676 TUBE MIC CHANNEL STRIP Specifications TBD...

Page 31: ..._____________________________________________________________________________________________________________________ __________________________________________________________________________________...

Page 32: ...Phone 801 566 8800 Website dbxpro com Support dbxpro com en US support dbx Professional Products is a registered trademark of Harman 676 Owner s Manual Rev A 2015 Harman All rights reserved...

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