• Unlike most other equalizers, which boost noise as well as the signal, the Micro Enhancer only boosts treble information when it already exists in the program material, thus adding the high end sparkle without boosting noise.
• Also, the Micro Enhancer differs from, and is superior to, other types of psychoacoustic enhancers on the market since others use a distortion process which is ultimately objectionable.
• The Micro Enhancer can be thought of as a dynamic semiparametric equalizer,in a boost only mode, as it is capable of performing many of the functions of a parametric.
• By varying the balance between the Threshold, Mix, and Bandwidth controls, a wide variety of treble boost effects may be achieved,all without the addition of any noise normally associated with equalizers, or distortion elements normally associated with psychoacoustic enhancers.

• Alessis Micro Series.pdf

• A compressor/limiter,which can be thought of as an automatic fader, very quickly reduces gain and attenuates the signal once it exceeds a predetermined level.
• The number of dB increase of the input signal needed to cause a 1 dB increase in the output signal of the compressor/limitier is called the compression ratio. Thus, for a ratio of 4 to 1, an 8 dB increase of input produces a 2 dB increase in output.
• The Micro Limiter can be thought of as a compressor when the green LEDs are lit because of the low compression ratio (2:1 to 8:1). A compressor is usually used to even out the volume fluctuations of an instrument or vocal and sometimes for special effects.

• Alessis Micro Series.pdf

• Plus, NanoVerb's 18 bit digital converters ensure the sonic quality that allows you to use it for any effects application from guitar rigs to studio recording. The front panel adjust knob allows you to tweak.
• NanoVerb's great-sounding programs until they're just right for your music, while the Input/Output levels and Mix controls ensure proper effect levels for a wide variety of applications. Plus, with its amazing low cost, you can afford to put two or three NanoVerbs in your rack for dedicating to multiple sources.

Applications: 

• Pro and semi-pro sound reinforcement 
• Multitrack studios
• Mobile DJ systems
• Cassette copies
• Discos 
• Instrument racks for guitar, bass and keyboards

• IKA program-adaptive compression circuitry 
• Switchable AUTO function for automatic attack and release time adjustment 
• IRC expander/gate circuitry 
• IGC peak limiting circuitry
• True RMS stereo link selectable
• Switchable side chain input, monitor and high-pass filter 
• Illuminated switches and precise multi-segment LED displays
• Separate 12-digit LED meters for input/output level and gain reduction

• behringer_mdx2200.pdf

• These include 45 mm faders; selectable +/-6dB or +/-15dB boost/cut range for precise gain adjustments; XLR, barrier strip, and 1/4'' TRS connectors for installation ease; balanced inputs and outputs for quiet operation; and chassis/signal ground lift capabilities for quick hum isolation.
• The visionary design of the dbx 12 Series makes your job easier. The dbx 12 Series Equalizers were precision engineered to provide years of maintenance-free operation in any application. The magnetically isolated transformer, electronically balanced/unbalanced inputs and servo balanced/unbalanced outputs, RF-filtered inputs and outputs, and power-off hard-wire relay bypass with 2 second power up delay were steps our engineers took to ensure compatibility for all installations.
• Only the best components were utilized, yielding a 10Hz to 50kHz frequency response, greater than 90dB SNR (ref +4dBu), less than 0.005% THD +Noise (1kHz at +4dBu), and interchannel crosstalk of less than -80dB from 20Hz to 20kHz. All this attention to detail is contained in a 3U steel/aluminum chassis.

• When using the 166XL’s Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow “leveling” to aggressive “peak” limiting.
• The 166XL’s advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics—even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx V1 VCA to design in an extra-wide threshold range and ensure top gating performance for each application.
• Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 166XL’s intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes.
• In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image—even with high amounts of compression, through True RMS Power Summing™.
• Professionals and newcomers alike will find that the 166XL sets up rapidly and musically the first time it is used, especially with the Auto attack and release function.
• Advanced applications are now easy, with the 166XL’s full sidechain functionality, and the ability to use either hard knee or OverEasy® compression algorithms. Add to this already impressive list of features the venerable PeakStop™ limiter, and you’ve got a strong finisher, every time.
• The dbx 166XL processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost.
• The 166XL puts a completely new level of compressor/gate performance within everyone’s reach.

• dbx166XL_Manual.pdf

Features include:

• Stereo or Dual Mono operation of gating, compression and peak limiting.
• OverEasy / Hard Knee Selection - allows selection between the famous OverEasy compression curve and the classic "Hard Knee" curve popularized by the original dbx 160, 161 and 162.
• Expander/Gate Circuit - with variable release time and +15dB maximum threshold
• Compressor Mode switch - selects from two sets of program-dependent Attack and Release times to tailor response for individual instruments or mixed program material.

• 166A_Manual.pdf

• Revolutionary instant encode/decode Type III® Noise Reduction in-circuit at the push of a button. Increases S/N ratio by up to 20dB
• Patent-pending PeakPlus™ Limiter threshold range from 0dBu to +24dBu (off) can transparently tame the wildest hits or the subtlest nuances of any signal 
• Four segment LED bargraph for BOTH Gain Reduction AND Output Level 
• Status LEDs offer visual feedback for all settings on the front panel

• dbx20SeriesManual.pdf

• When using the 266XL’s AutoDynamic Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow “leveling” to aggressive “peak” limiting.
• The Auto Dynamic circuitry continuously adjusts the actual attack and release times to optimally match the program material.
• Since users aren’t restricted to using the Attack and Release controls only in “peak” operation, they can tailor the response of the 266XL for individual tracks, mixed program material, special effects or system protection. As a result, production studios can use the versatile 266XL to replace multiple “single-purpose” limiters while sound reinforcement users can standardize on the 266XL for all of their applications.
• The 266XL’s advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics—even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx VCA to design in an extra-wide threshold range and ensure top gating performance for each application.
• Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 266XL’s intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image—even with high amounts of compression. Professionals and newcomers will find that the 266XL sets up rapidly and musically the first time it is used, and every time thereafter.
• The dbx 266XL processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost.
• The 266XL puts a completely new level of compressor/gate performance within everyone’s reach.

• A front panel Adjust knob allows instant manipulation of each effect’s critical parameters and an Effects/Balance knob lets you control effect level or the balance of dual effect combinations.
• An easy Learn mode allows MIDI patching of front panel controls. In addition, tempo-controlled delays lock to Tap or MIDI clock, and Tap tempos can be controlled by audio input, the front panel Tap button, dual footswitch, external MIDI controller or MIDI Program Change.
• Other features include dual 2-stage headroom indicators, a headphone output, a software-selectable MIDI OUT/THRU port, pushbutton or footswitch selection of dry or muted audio output and a 20Hz-20kHz ±1dB Frequency Response.

• MPX100_Product_Introduction.pdf

• A large graphics display and dedicated Edit knobs give you instant access to each preset’s parameters and an easy Learn mode allows MIDI patching of front panel controls.
• In addition, tempocontrolled delays and modulation rates lock to Tap or MIDI clock, and Tap tempos can be controlled by audio input, the front panel Tap button, dual footswitch, external MIDI controller or MIDI Program Change.
• Other features include a software-selectable MIDI OUT/THRU port, pushbutton or footswitch selection of dry or muted audio output and a built-in power supply.

• MPX500_User_Guide_Rev1.pdf

• A large, graphic front panel display provides at-a-glance viewing of program and system status.
• Programs are organized into 28 banks, with 27 for presets and 1 for user programs. The PROGRAM knob scrolls through all stored programs, or between banks for faster selection.
• Each program includes up to 20 adjustable parameters, which are organized into “Edit Pages" that consist of four parameters each. The Edit Pages button cycles through available Edit Pages for the selected program. The MPX 550 features Learn Mode, a powerful editing tool that allows MIDI patching of all parameters, as well as the Bypass and Tap/Cancel buttons.
• Standard Continuous Controller and Program Change messages provide complete control of these functions.

• MPX550_Manual.pdf

• Selectable hard-knee/soft-knee compression
• PEAK/RMS response selectable 
• Full input/output and gain reduction metering 
• Variable independent expander/gate 
• Channels can be coupled for true stereo operation 
• Bypass switch for each channel 
• Side-chain insert jacks 
• Variable filter settings 
• +4 dBu/-10 dBV switchable 
• Action LED display for gate 
• Frequency response: 10 Hz to 30 KHz, +/-0.5 dB

• With the introduction of the D-Two, TC Electronic have once again succeeded in developing cutting edge technology, expanding the way you work with your effects processor! Your creativity will be the only limit when it comes to exploring the endless number of delay possibilities within the D-Two.
• State-of-the-art hardware provides you with true 24 bit resolution A/D and D/A converters and true 24 bit RAM memory.
• The unique hardware design ensures that the delay effects you get from the D-Two only come in one variety: the best possible audio quality.
• With the introduction of the D-Two Rhythm Delay TC once again revolutionizes the concept of delay effects processing by adding the possibility of actually creating rhythm delay patterns.
• The Rhythm Delay feature makes the D-Two the most unique dedicated delay unit – ever.

• Use the M-One’s Dual Engine to run two of the best sounding reverbs or other quality effects simultaneously without compromising sound.
• The Easy Parameter Level gives you more flexibility to create cool effects and control of all important parameters right at your fingertip. The M-One gives you a wide range of high quality reverbs from the classic Halls and Rooms to new and grainy snare reverbs such as Live and Plate.
• Use the M-One’s many high quality reverbs to create sound reflections in various environments. Now you can add different levels of depth to your source material, easily. Use the M-One Engines in the Dual Send/Return setup, and get two independent effects processors.
• Connect one Auxiliary to the Left Input of the M-One, and a second to the Right input. The stereo Output of the two Engines are now mixed internally, and can be returned to a single stereo effects return on your mixing console, giving you two full blown stereo effects simultaneously.

• All Reverb types and parameters are accessible directly from the front panel to ensure maximum flexibility in any given situation.
• Direct access to all Reverb/Effect types and their parameters from the front panel, ensures maximum flexibility in any given situation. High density 24-bit processing and AD/DA conversion gives full justice to the coveted TC Reverbs and Effects.
• The auto-sensing Digital In at 24-bit S/PDIF ensures bulletproof Input connection in any setup. - If Digital In fails, the M300 automatically switches to Analog! Furthermore, the M300 comes with an easy-to-read Preset Display, and provides MIDI In/Out, MIDI Clock Tempo Sync, Pedal Control of Tap Tempo, and Global Bypass. 
• It is compatible with the G-Minor Triple Footswitch and provides 5 Direct Access Parameters for quick and easy handling of parameter changes. The adaptive built in power supply, secures seamless operation at any main voltage.

• tc_electronics_m300.pdf

• To achieve this, the DP226 has 2 inputs and 6 outputs, which can be configured in 5 basic modes, 3 x 2 way, 2 x 3 way, 4 way, 5 way and 6 way crossover.
• Each input has gain, delay and 8 bands of parametric EQ control, each output consists of a high and lowpass filter, 5 bands of parametric equalization, limiter, delay, gain and polarity controls.

• xta_dp226.pdf

• Yamaha Graphic Equalizers offer features and performance that meet today's equalization needs whether they be in sound reinforcement, recording, A/V production, electronic musical instruments, broadcasting, music listening, or any other applications where precise sound tailoring is essential.
• Dual 2/3-octave 15-band graphic equalizers with switchable EQ gain +/-6dB or +/-12dB per octave. 
• Balanced & unbalanced I/O

• yamaha_gq2015a.pdf

• It offers remarkably smooth, natural reverb sound as well as a range of outstanding studio-quality delay and modulation effects.
• It's also super-simple to use, and surprisingly affordable for the quality and flexibility it offers.
• So affordable, in fact, that you could easily add several to your system for sensational processing power.

• Any of the 50 preset programs can be edited, re-titled, and stored in any of the 49 RAM (user memory) locations.
• Each program has a range of "main" parameters that tailor the effect to a specific application. Individual two-band EQ and dynamic filter parameters are also provided for each effect program.
• In addition, the SPX900 offers a group of internal parameters that provide custom control over each effect.
• Finally, level parameters balance between direct sound, and set overall output level. An external control assign function makes it possible to assign two selected parameters from each program to two external controllers. The selected parameters can be remotely controlled in real-time.

• yamaha_spx900.pdf

• Any of the SPX1000's 40 preset effect programs can be edited, re-titled, and stored in any of 59 RAM (user memory) locations.
• The stereo analog inputs and outputs can be switched to match -20 dBm or +4 dBm.
• The SPX1000 also allows selection of the following Digital I/O modes: Analog, PRE, Post, Digital.
• In addition to the digital I/O configurations, the SPX1000 offers a choice of input modes that provide increased system flexibility: Stereo Normal, Stereo Reverse, Mono L, and Mono R.

• yamaha_spx1000.pdf