The dbx brand has been a favorite of mine since the late 1970’s. My first piece of dbx kit was a stand-alone noise reduction unit that I coupled with an old Teac Reel to Reel Tape Deck. Through the years I’ve owned various EQ’s and Dynamics processors, including the highly regarded 160A Compressor. I purchased mine in 2006.
In January 2011 I was skimming through eBay listings looking for a dbx 286A Microphone Preamp Processor. At the time I had heard the original 286 model was co-designed by Bob Orban, and both models were widely used in Radio Broadcast facilities. I found it interesting that Radio Engineers would use a piece of gear that was not only cheap in terms of cost – but unconventional in terms of controls.
One piece was available on eBay, supposedly used for 4 hours at a party in Hollywood Hills California, and then boxed for resale. The seller had a positive reputation, so I grabbed it for $115. Upon arrival it’s condition was as described, and it’s been in my rack ever since.
The 286/286A has evolved into the 286s, quite frankly an outright steal priced at $199. Due to it’s straight forward approach and affordable price, the Podcasting community has embraced it and often classifies it as “drool-worthy.” Pretty amusing.
In this article I am going to focus on the attributes of the Compressor stage and the De-Esser. I will demystify the DeEsser and discuss the importance of the Output (Gain) Compensation setting.
I mentioned the processor is unconventional. For example the Compressor’s Drive and Density settings essentially replace the Threshold, Ratio, Attack, and Release controls present on most Compressors.
The De-Esser requires a user defined High-Pass Frequency designation and Threshold setting to reduce excessive sibilance. Setup can be time consuming due to the lack of any visual representation of problematic energy in need of attenuation.
Compression results depend on the level (and dynamics) of the incoming signal and corresponding settings. On a conventional compressor the Threshold monitors the incoming signal. When the signal surpasses the Threshold, processing engages and gain reduction is activated. The Ratio determines the amount of gain reduction. The Attack will affect how aggressively (or the speed at which) gain reduction initializes and ultimatly reaches maximum attenuation. The Release will control the speed of the transition from full attenuation – back to the original level
The Drive control on the 286s determines the amount of gain reduction (compression) applied to the incoming signal. Higher settings will increase the input signal level resulting in more aggressive compression (and noise).
How much gain reduction should you shoot for? Well that’s subjective. I would recommend experimenting with 6-12dB of gain reduction. Of course results will vary due to obvious variables (mic selection, preamp level, etc.)
When using a compressor to process spoken word, improper Release settings can result in choppiness, often referred to as pumping. The key is to have the gain reduction occurrences smoothly transition between instances of audible sound and natural pauses (silence).
The 286s uses a variable program dependent Release. In the event you feel (and hear) the necessity to speed up or slow down the program dependent Release – the Density control will come in handy.
Note the Density scale on the 286s is again somewhat unconventional. On a typical dynamics processor – setting the Release full counter-clockwise would result in a very fast Release. As the setting is adjusted clockwise, the Release duration is extended. The scale usually transitions from milliseconds to full seconds.
On the 286s, think of Density as a linear speed controller, where “1” (counter-clockwise) is slow and “10” (full clockwise) is fast.
For normal speech I recommend experimenting with the Density set between 3 and 5.
If you check around you will notice a wide range of references regarding the frequency range where sibilance generally occurs. In reality there are many variables. Each instance of sibilance will need to be accurately identified and addressed accordingly.
The 286s De-Esser uses a variable high-pass filter. This instructs the processor where to initiate the attenuation of problematic energy. This Frequency control has a range of 800Hz-10kHz. The user manual states ” … settings between 4-8kHz will yield the best results for vocal processing.” This is good starting point. However proper setup requires time consuming arbitrary tweaking that may result in a low level of accuracy. A visual representation of the frequency range of the excessive sibilant energy will solve this problem. Once you identify the frequencies and/or range where most of the energy is present, setting the Frequency on the 286s will be demystified.
The De-Esser’s Threshold setting controls the amount of attenuation (sensitivity) and will remain constant as the input level changes.
Have a look at the spectral analysis below:
Notice the excessive energy in the 2-6kHz range (Frequency Range is represented on the X axis). For this particular segment of audio I would initially set the Frequency control on the 286s to 5kHz. Next I would adjust the Threshold until the sibilant energy is attenuated. I would then sweep the Frequency setting within the visual range of the sibilant energy and fine tune both settings until I achieve the most pleasing results. The key is not to over do it. Heavy attenuation will suppress vital energy and remove any hint of natural presence and sparkle.
To perform this analysis excersize – set the Threshold setting on the 286s to OFF. Pass the output of the processor to your DAW of choice and perform a real time spectral analysis of your voice using a software plugin the includes a Spectrum Analyzer. You can use any supported EQ plugin with it’s controls bypassed. You can also use something like the free (AU/VST) Span plugin by Voxengo (note that Span is CPU intensive).
Output Gain Compensation
Gain Compensation is an integral element of Audio Compression. It’s intent is to offset the gain reduction that occurs when audio is compressed. It is often referred to as Make-up Gain. When this gain offset is applied to compressed audio, the perceived, average level of the audio is increased. Excessive Make-up Gain can sometimes elevate noise that may have been previously inaudible at lower average levels.
Earlier I discussed how an elevated Drive control setting on the 286s will increase the input signal of low level source audio. In doing so you may initiate a suitable amount of compression. However you also run the risk of a noticeable increase in noise. In this particular scenario, try setting the Output Gain on the 286s to a negative value to offset the gain (and noise) that may have been introduced by the Drive setting.
I think it’s important to first learn the basics of Audio Compression from a conventional perspective. In doing so you will find it easier to get the most out of the unconventional controls on the dbx 286s, especially Drive and Density.
And let’s not forget that De-Essing is really nothing more than frequency band compression that will attenuate problematic energy. Establishing a visual reference to the energy will simplify the process of accurate correction.
23 thoughts on “dbx 286s: Beyond The Basics …”
hi paul, great review. I bought my dbx a couple of days ago, but no matter what I do I can’t get the signal into my daw (logic x, using pro fire 2626 interface) to go any higher than -30db. even when i clip on porpoise, no matter how high my input to output level. what do you think might be going on?
I assume you have your mic plugged into the Mic input on the 286s with Phantom Power set to ON if you are young a Condenser Mic. The 286s Line Output should be routed to a Line Input on your I/O.
Does your I/0 use some sort of proprietary routing software to control levels before the signal is sent out through Firewire?
Thanks for the help. Have spent the last 40 years on radio and never had a need for a compressor at least not one that I could see. Does the 286s have an over easy process in it ? I was told by the rep that it did but can not see any or hear any difference. I’m using the original SM7 mic .. not the new one that Shure has on the market. I found that the new one is very tiny sounding.
Hi Denny, You’re Welcome ..
This particular device (286a/s) does not have an OverEasy option. If you’re looking for a straight forward compressor, the 160a is probably a better option. It’s a single channel processor, with OverEasy option. Highly regarded piece. It is more expensive, checking in at about $400.
Also, there’s a good deal over at Sweetwater on the dbx 266XS. It’s a 2 channel compressor/gate with OverEasy. $99. That’s a steal …
I have been a fan of the 286s for a couple of years now but with one caveat: it hums audibly !
I’ve tried changing the plugs, different outputs, etc, but the unit just hums. Right from the word go. Not massively but enough for it to show up on my audio.
Have you tried different mics? Also, how are you handling power line conditioning?
After watching a uTube video review on the dbx 286s my brother went to guitarC to purchase one for my birthday.
But, he came back with the 266xs, Can I achieve the same results with it as the 286s, the plan was to use the 286s for the main mic in our karaoke set-up.
Now I’m really interested in the de-sser, filters & the freq controls (I have no clue what the “over easy” does on the 266xs) and the possible benefits of the 286s, is there a difference, which do you think would be best for the karaoke application?
Can you clarify ? the help will be greatly appreciated.
Thanks in advance;
Hi Cortez and you’re welcome 😉
The 286s and the 266xs are entirely different devices. The most obvious differences? The 286s is a single channel processor with a mic input/preamp and optional Phantom Power for condenser mics. The controls are somewhat unconventional, yet highly effective. The 266xs is a 2-channel dynamics processor. It’s designed to be patched in on a mixer’s channel insert or in-line. It does not contain a mic input/preamp.
Have a look at my thread over on Google+ for additional insight.
OverEasy on the 266xs is a Knee setting that controls the characteristics of the compression curve. It creates a much more gradual and less noticeable transition into full compression …
I hope that helps.
Is there a free software that I can use to test the The De-Esser as you have described? My microphone application is for Twitch gaming broadcasting.
Additionally is there a way to calculate or determine the ideal output offset gain to be used?
As mentioned in the article, Span by Voxengo is a free Spectrum Analyzer:
You can monitor the amount gain reduction occurring on the device’s GR meter. As an example if you are averaging 6 dB of gain reduction – set the Output compensation to +6 dB. Of course this approach is subjective. In some cases you may not want to retain the level of the pre-processed input. If so the compensation would be less, or even bypassed entirely.
I downloaded that and there was only a span.dll file and not any executable to run the program file like the picture. Sorry but I am not very versed in this area.
You downloaded an “Audio Plugin” that needs to be installed in the proper location. When you do this it will appear in your installed host audio applications.
It sounds like you are on a PC? If so I’m afraid I can’t help you. OTOH if you are on a Mac, email me and I’ll walk you through it.
I purchase a Shure mic dbx 286s preamp bundle from B&H. how do I hook it up to my iMac (Retina 5K, 27-inch, Late 2014) Mac OS 10.13.2- Thanks
My suggestion would be to use a USB Audio Interface such as the Focusrite Scarlett 2i2 as an intermediate device between the dbx and your iMac …
whats the defference between 286a & 286s??
The 286A was discontinued 6 or 8 years ago I think? It’s the previous version of the readily available “s” version. I’ve heard a portion of the internal components and circuitry elements were improved. Not sure about any specific details. The 286A is certainly still viable depending on care and usage. Controls are the same on both units. From an aesthetic perspective I prefer the black faceplate.
Many radio stations use the dbx286 precisely because Bob Orban designed it. Bob is a superstar in broadcast, and if Bob designed it, engineers will use it. Don’t let the low price fool you into believing the dbx286 is low quality. To the contrary, it’s a serious, professional processor. I have paired it with a EV RE20, and it preforms perfectly. In fact, I like the dbx286 better than some other higher cost broadcast processors.
Sorry, late post but wanted to share my experience as a broadcast engineer..
It’s been some time since this article was published, however, I just wanted to say thank you for the information here in this article. I really want to understand my dbx’s capabilities and this has really opened my mind to new possibilities using the dbx 286s. Thanks!
You’re welcome, Brad. Happy to help …
I have a home studio and was interested in a dbx. I have used the dbx 160a when I was in school. I was looking at the 286s. What would your recommendation be for vocals.
The 286s is much more versatile. It includes a preamp, low frequency roll off, phantom power, enhancement options, De-Esser, and Expander/Gate. The 160a is great, albeit it’s a single channel (mono) Compressor. For vocals I would go with the 286s.