The BLU-102 has open architecture which is fully configurable through HiQnet™ London Architect. A rich palette of processing and logic objects and a “drag and drop” method of configuration provide a simple and familiar design environment.

The BLU-102 contains dedicated AEC processing for up to 8 independent AEC algorithms. The AEC algorithm can be applied to signals coming from the local analog inputs or from the digital audio bus. 8 individual AEC references (one per algorithm) allow the user to provide a solution for multiple conferencing spaces using a single device.

Automatic Gain Control (AGC) and Noise Cancellation (NC) are also provided per AEC algorithm. AGC ensures that microphone levels remain at an optimum level, and NC removes steady state noise (such as from a projector fan or air conditioning device) from the signal path.

This processor features a low latency, fault tolerant digital audio bus of 48 channels which uses standard Category 5e cabling giving a distance of 100m between compatible devices. Fiber media converters can be used to increase the distance between devices to over 40km.

The BLU-102 is compatible with the entire Soundweb London family and its 48 channel digital audio bus represents channels 1-48 of the larger 256 channel digital audio bus when integrated with the BLU-800, BLU-320, BLU-160, BLU-120, BLU-BIB and BLU-BOB devices.

The dbx® 12 Series were designed to meet the needs of the most demanding sound reinforcement environments, while offering the simplicity of straightforward controls. The 1231 provides standard features like dual-channels, 31 1/3 octave bands, ISO frequency centers, +/- 12 dB input gain range, and switchable 40Hz/18 dB per octave low-cut filters, but also includes other insightful features. 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.

The dbx 231s includes two 31-band channels of 1/3-octave equalization, ±12 dB input gain, switchable ±6 dB or ±12 dB boost/cut range, 20mm nonconductive sliders, an intuitive user interface, and output level metering. From its extended 10Hz to 50kHz frequency response and 112 dB dynamic range to the quality componentry and meticulous attention to detail, the 231s offers exceptional sound and rugged reliability that guarantees you will always sound your best.

Sure to find a home in the studio, on tour and with installed sound venues, the dbx 231s is destined to take its rightful place in the lineage of great dbx signal processors that are the professional's choice in signal processing. With such affordable quality, there's no longer any excuse for compromising your sound.

Housed in a convenient 500 series lunchbox-style chassis, the dbx 560A Compressor/Limiter uses VCA-based compression with the same switch-selectable OverEasy and Hard Knee compression curves as found in the industry standard dbx 160A rackmount processor. Offering a wide-ranging threshold, ratio, and output controls as well as true RMS level detection provides dynamic processing with a natural sound signature. It can add punch to drums, bass, vocals, and more. The unit is also versatile enough to go from subtle compression to brickwall limiting.

You can select low ratios and OverEasy compression to smooth out fluctuating vocal and instrumental levels or use the unit's Hard Knee compression and higher ratios for protection against overload distortion in digital recording, P.A. systems, and broadcast signals.