However, a lot of people are saying that if your DCX arrives working, it will most likely keep on working, which is good enough for me. 1 minute of downtime to switch the xlr's around is no big deal for me. My shows are not mission critical, and I can keep the analog x-over for backup.
Your points are all pretty valid, but still, why should I buy the DRPA when all of my research points to it being a worse piece of hardware than the Behringer? I have heard of both units failing during the show, but neither very often. So, they MIGHT be more of a hassle to deal with, but considering their only competitor is the DRPA, they have a better featureset On the other hand, the reliability problems I have heard about the DCX seem to be either things I can fix with my soldering iron (ribbon cable probs, grounding probs, cold solder joints on output) or DOA things (or complete failure) that Behringer will replace for free.īasically, the consensus I'm seeing on other forum threads is that the DCX is more of the functional equivalent of the DBX 260, but with occasional problems, some of which can be fixed easily if you have electronics knowledge (I do). as I don't have a UPS on my rack, I'd like to avoid that "feature". I've heard that the DRPA likes to emit pops whenever the power fluctuates.
How to set up dbx driverack 260 software#
The way the rack is mounted means it's a lot easier to use the PC software to setup the unit than to be stooped down running through menus (of course, I could do that in an emergency but you know.) The DRPA doesn't have a computer interface, which is a pain in the ass for me since I already have a computer setup and RTA software. The 260 provides a full-time RTA for live sound applications, while contractors will appreciate its control inputs for wall-panel logic and volume control.I don't see anything lacking in the Peavey, I didn't know about it until Gregidon posted There is Parametric EQ available on each output as well as dbx® PeakStopPlus™ Limiting.
How to set up dbx driverack 260 full#
The 260 provides full Bandpass and Crossover filtering and routing including Bessel, Butterworth and Linkwitz-Riley topologies. The DriveRack® 260 also offers a configurable Delay with 2.7 seconds of total delay time. Each input channel also boasts two selectable insert processors with a selection of Notch Filtering, classic dbx® Compression, Auto Gain Control, Sub-Harmonic Synthesis, or our own patent-pending Advanced Feedback Suppression™ (AFS™). Each input channel provides a choice of EQ, either a 9-band Parametric or a 28-band Graphic EQ. The 260 offers two inputs and six outputs on XLR connectors. Additionally, the Wizard function enables any user to quickly set up and use the 260 to its full potential by streamlining the setup process and providing a menu based setup procedure that includes system setup and configuration, Auto-EQ, and Advanced Feedback Suppression™ (AFS™) setup. From the powerful DSP modules to the multiple control surfaces, the 260 provides all the processing and control necessary for both installation and live use. The DriveRack® 260 loudspeaker management system has been designed to provide “Everything you need between the mixer and the power amps”. The perfect solution for loudspeaker system management
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