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OPERATING GUIDE SL-620 SM-620 INSIDE THIS GUIDE: About the FBX 2,3 Quick-Start Operation 2 FBX-SOLO Controls 4,5 Applications 6-8 Understanding Fixed & Dynamic Filters 9 Operating Instructions 10-12 Troubleshooting Tips 13 Product Specifications 14 Cautions 14 Warranty 15 FBX-SOLO Model SL-620 FBX-SOLO Model SM-620 CONGRATULATIONS! You now have the state-of-the-art in feedback control. The Sabine FBX-SOLO gives you automatic real-time feedback control for any channel on your mix. In setup and during the performance, it gives you more gain and increases the clarity of your mains and monitors. It's the affordable solution to feedback problems, perfect for wireless mics, monitors, acoustic/electric instruments, harmonica mics, multi-mic locations like conference rooms and courthouses -- wherever there's an open microphone. The FBX-SOLO incorporates the latest in design and digital signal processing technology. It automatically senses feedback in a sound system and determines its pitch. It then places one of its six constant "Q" micro-filters on the resonating frequency and eliminates the feedback in typically less than one second. Special features of the SL-620 and SM-620: · The SL-620 has 1/4" in/out connectors and input/output level switches for any combination of ins and outs. The SL is for use with acoustic/electric guitars and guitar amplifiers, mixer insert points, powered mixer patch points and high impedance mics. · The SM-620, with selectable phantom power, has XLR in/out connectors for use with balanced microphones. · Both models offer standard FBX features like switchable filter widths and lockable fixed filters. See page 2 for quick-start operating procedures. FBX and FBX Feedback Exterminator are registered trademarks of Sabine, Inc., and are the brand names of its line of automatic feedback controllers. Covered by U.S. Patent No. 5,245,665, Australian Patent No. 653,736, Canadian Patent No. 2,066,624-2, German Patent No. 69118486.0, and British Patent No. 0486679. Other patents pending. © 1996 Sabine Inc. ABOUT THE FBX... WORLD'S BEST FEEDBACK CONTROLLER: Before the invention of the FBX, the most common device for controlling feedback was the 31-band graphic EQ. However, the FBX has three distinct advantages. The most obvious is the FBX functions automatically, even during the program. Another is the FBX microfilters are precisely placed while EQ filters are fixed. The difference: FBX filters do not have to be as deep, so there is more system gain. The most important advantage is that FBX micro-filters are ten times narrower than 31-band EQ filters. FBX micro-filters return up to 90 percent of the power removed by EQ filters. Over the years, engineers stopped using 12-band EQs in favor of the narrower-filter 31band EQ for controlling feedback. The FBX represents the next step. An EQ would need more than 10,000 sliders to be equivalent to your FBX. With the SOLO, your monitors will finally sound loud enough, everyone in the audience will understand each word, and the mains will sound natural and transparent. WHO NEEDS THE FBX? Virtually every sound system will be improved with the FBX. Small bands that do not have sound technicians can now increase their monitor volumes so they can hear themselves clearly and with full fidelity, without worrying if the program is going to be ruined by feedback. Auditoriums and churches of all sizes will enjoy reliable feedback control. Hotels and conference centers around the world can offer meeting rooms with sound systems that won't howl during programs. The SOLO can be installed in theaters, schools, sports arenas, courtrooms -- anywhere multiple microphones are used. It can also be used for teleconferencing, intercoms or interactive remote classrooms. WHY THE FBX? The simple beauty of the FBX is its ability to quickly and effectively eliminate feedback with narrower filters than ever before possible. The FBX delivers superior sound quality automatically. For best results, read all operating instructions before using the FBX-SOLO. If you're already familiar with the FBX or just want a basic overview of FBX operation, this simple quick-start procedure is for you. More detailed instructions begin on page 9 inside this operating guide. 1. Patch in the SOLO where appropriate for your model, and select the input/output level on the back. 2. With gain down on the input channel, put the SOLO in ACTIVE mode (green bypass LED), then slowly raise the channel gain to the point of feedback. 3. Raise the gain slowly until 5 FBX filters are set, then reduce gain slightly. 4. Adjust the CLIP LEVEL on the SOLO, and you're ready to go. READ THE ENTIRE OPERATING GUIDE FOR COMPLETE INSTRUCTIONS. QUICK-START OPERATION 2 A DIRECT HIT ON FEEDBACK! The FBX-SOLO targets feedback without taking a big chunk out of your sound. Tests prove that a single 1/3-octave EQ slider pulled down 12 dB removes almost half the power going to the speakers over a two-octave range. And, as the illustration at right shows, you can't place a graphic EQ filter precisely on the ringing frequency. When you pull down multiple sliders in a normal setup (below), you end up with giant holes in your sound. On the other hand, FBX constant "Q" micro-filters are 10 times narrower - you get back up to 90% of the power you lose with a graphic EQ! That means more gain before feedback and no loss in sound quality. 0.0 dBV 0 dB 6 dB 12 dB 500 Hz 1000 Hz 2000 Hz -1.875 FREQUENCY RESPONSE: Full Set-Up FBX vs. 1/3-Octave Graphic Equalizer. Test procedure: A PA system was -3.750 -5.625 -7.500 -9.375 set up using a microphone, mixer, FBX, power amp and two speakers. The system's gain was raised until the FBX removed six feedback points. Next, the FBX was replaced with a 1/3-octave graphic EQ. The EQ was adjusted while the input was raised to the same level achieved with the FBX. The frequency response curves of each device were then plotted. What this means to you: Doubling the cost of your microphones, speakers and power amp probably would not improve your system's frequency response as much as replacing your EQ with an FBX for chasing feedback. -11.25 -13.13 -15.00 100 Hz 1K 10K HOW CAN THE SOLO BE USED? Assign a SOLO to any specific mixer channel. You can also use the SM-620 to connect a phantom-powered mic to a non-phantom-powered mixer. Look for this symbol for specific information on the SL-620. Look for this symbol for specific information on the SM-620. 3 SL-620 Front & Back Panels POWER The ON/OFF power switch is a two-position push button switch. The LEDs corresponding to all active filters will blink on powerup. ACTIVE/BYPASS In Active mode, the unit controls feedback automatically. The two-color "BY" LED lights green when the unit is in Active mode and lights red when in Bypass mode. The mic preamp remains active in Bypass mode; only the FBX function is bypassed. RESET Press until the LEDs stop flashing to reset or clear all filters. LOCK FIXED FILTERS When the "LOCK FIXED" button is pressed, its LED will light to indicate that the FBX is in "LOCK FIXED" mode. "LOCK FIXED" mode can be activated at any time after system setup and will stay on until the button is pressed again and the LED turns off. The dynamic filters are not affected. FILTER ACTIVITY When one of the unit's constant "Q" filters is activated, the corresponding LED lights. A blinking LED indicates the filter that was most recently activated. CLIP LEVEL ADJUST Adjust the clip level so that the clip LED blinks intermittently. Higher levels will cause distortion, and lower levels will cause an increase in sound system noise level. When the output level switch is set to UNITY: The FBX combines input and output levels into one control so there is no net gain or loss of signal regardless of where the clip level is set. When the output level switch is set to LINE: The FBX has an adjustable gain which ranges from 0dB to +35dB. FILTER WIDTH SWITCH Switch to narrow 1/10-octave filters for music applications or to wider 1/5-octave filters for spoken word applications. The change takes effect only on power up. Selecting a new width has no effect unless you power down and then power up again. INPUT LOW/HIGH SWITCH Switch to LOW for instrument or microphone in (use with low level inputs such as piezo mics); this provides a 30dB boost in the FBX's input gain structure. Switch to HIGH for insert or line in (use with high level output instruments and signal processors). OUTPUT UNITY/LINE SWITCH Switch to UNITY (for level in=level out) for use with amplifiers that accept low level signals, such as guitar amps. In the UNITY setting the SL-620 has a system gain of 1 (input=output level). Switch to LINE (for line level out) if your signal needs preamping. In the LINE setting the gain is adjusted between 0 and +35dB (HIGH IN; +30 to +65dB LOW IN) via the clip level adjust. 12VDC ADAPTOR The FBX external power supply (single unit power supply; model #S-PSU1) is included with the unit. Use of any other power supplies may cause permanent damage to the unit and WILL VOID THE WARRANTY. INPUTS & OUTPUTS The connector labeled IN/OUT serves as both the unit's input (tip) and output (ring) when used with a single TRS plug. When used with a Y-cord, use the IN/OUT as the input and the OUTPUT as the output. 4 SM-620 Front & Back Panels POWER The ON/OFF power switch is a two-position push button switch. The LEDs corresponding to all active filters will blink on powerup. ACTIVE/BYPASS In Active mode, the unit controls feedback automatically. The two-color "BY" LED lights green when the unit is in Active mode and lights red when in Bypass mode. Phantom power and the mic preamp remain active in Bypass mode; only the FBX function is bypassed. RESET Press until the LEDs stop flashing to reset or clear all filters. FILTER ACTIVITY When one of the unit's constant "Q" filters is activated, the corresponding LED lights. A blinking LED indicates the filter that was most recently activated. LOCK FIXED FILTERS When the "LOCK FIXED" button is pressed, its LED will light to indicate that the FBX is in "LOCK FIXED" mode. "LOCK FIXED" mode can be activated at any time after system setup and will stay on until the button is pressed again and the LED turns off. The dynamic filters are not affected. CLIP LEVEL ADJUST Adjust the clip level so that the clip LED blinks intermittently. Higher levels will cause distortion, and lower levels will cause an increase in sound system noise level. When the output level switch is set to UNITY: The FBX combines input and output levels into one control so there is no net gain or loss of signal regardless of where the clip level is set. When the output level switch is set to LINE: The FBX has an adjustable gain which ranges from -15dB to +20dB. FILTER WIDTH SWITCH Switch to narrow 1/10-octave filters for music applications or to wider 1/5-octave filters for spoken word applications. The change takes effect only on power up. Selecting a new width has no effect unless you power down and then power up again. OUTPUT LO/HI SWITCH In the LO setting, the SM-620 has unity gain (input=output); use LO for mic level. In the HI setting, gain is adjustable between -15dB and +20dB using the clip level adjust; use HI for line level, or when you need to preamp the signal. PHANTOM POWER ON/OFF SWITCH The SM-620 is set to "PHANTOM POWER - OFF" at the factory. If you wish to use phantom power, move the switch to "ON." 12VDC ADAPTOR The FBX external power supply (single unit power supply; model #S-PSU1) is included with the unit. Use of any other power supplies may cause permanent damage to the unit and WILL VOID THE WARRANTY. INPUT The input accepts balanced XLR-3 (PIN 2 high) plugs. OUTPUT Use balanced XLR-3 plugs (PIN 2 high) for balanced mixer line inputs. 5 APPLICATIONS SL-620: You can use the SL-620 with acoustic/electric guitars and guitar amplifiers, mixer insert points, powered mixer patch points and high impedance mics. Note: In each of these drawings, the output level could be set to line or unity depending on your situation. Use the following wiring diagrams (presented in order of most common to least common setup) as guides for setup: SL-620, Configuration 1 SL-620, Configuration 2 SL-620, Configuration 3 6 SL-620, Configuration 4 SL-620, Configuration 5 SL-620, Configuration 6 7 SM-620: Use the SM-620 with balanced microphones. SM-620, Configuration 1 SM-620, Configuration 2 8 BEFORE YOU BEGIN The FBX automatic feedback controller improves any sound reinforcement system. By following these simple instructions, you will be assured of the most benefit from your FBX and sound system. The instructions presume that you are familiar with the fundamentals of sound reinforcement. If any of the terms are not clear, or if the system does not perform as expected, contact your local Sabine dealer for further information. Read on for a basic explanation of FBX features you should understand before using your FBX. When connecting the power supply to the FBX-SOLO, angle the connector down, then push the connector up into the input gently, with the lip facing up as shown. Do not force the connector into or out of the FBX. POWERING UP The FBX has two types of constant "Q" filters: FIXED and DYNAMIC. Both filters are placed the same way: Feedback is detected, and the filter is placed just deep enough to eliminate it. The difference comes after the filter is placed. FIXED FILTERS are set automatically during the initial setup and remain on the initially detected feedback tone -- they do not move. The system's gain before feedback is provided by the FIXED FILTERS; i.e., increasing the number of FIXED FILTERS increases the system's gain before feedback. The FBX's DYNAMIC FILTERS control intermittent feedback that occurs during the program; they can release and move to new feedback frequencies and are for adaptive feedback control during the performance. For many applications, the optimal setting is the one which gives maximum gain - i.e., four FIXED and two DYNAMIC filters (default setting). However, in some applications, such as use of wireless microphones, mobility is more important than maximum gain. In this case, you may wish to have more dynamic than fixed filters. Any combination is possible. The filters can be reconfigured easily from the factory default setting (four fixed and two dynamic) to any combination of fixed and dynamic filters. For example, the following procedure will set three filters fixed and three dynamic: 1. Place the unit in BYPASS mode. 2. Power down the SOLO. 3. While depressing the RESET button, power up the unit. 4. Release the RESET button. The FILTER INDICATOR LEDs will now light in sequence. 5. When the third LED is lit, press the RESET button. 6. Notice that the first three LEDs flash three times to verify that they are now the fixed filters. Note: The fixed filters flash three times whenever the FBX is powered up. UNDERSTANDING FIXED & DYNAMIC FILTERS