FBX-SOLO SL-820

FEEDBACK EXTERMINATOR

FBX-SOLO SM-820

FOR ANY DEVICE WITH 1/4 CONNECTORS! LOCKING FIXED FILTERS FREEZES PLACEMENT AND DEPTH PROGRAMMABLE NOISE GATE

20-bit 8 filters

FBX Filters: the only way to kill feedback during setup and during the program!
Super-narrow FBX Filters kill feedback, not your sound.
20-bit digital for the cleanest sound ever.
The ultimate and affordable solution to feedback problems is now even better with the new FBX-SOLO 820 Series. The SOLO 820s are the ultimate because they provide targeted feedback control each mic gets its own automatically customized FBX filters; the SOLO 820s are an even better value because weve improved performance and audio quality, added new features, and kept the same low price! Like all the FBX Feedback Exterminators, the FBXSOLO does what no other audio product can do: It automatically detects and eliminates feedback while leaving the sound crystal clear. The patented algorithm distinguishes music from feedback so it even works during the program, not just at setup time. If you use your 31-band EQ just to shape your sound and let your FBX control feedback, you should expect up to 9 dB more gain and a dramatic improvement in the sound quality. Why? When you pull down a graphic EQ slider to chase feedback, you also pull out a big chunk of your sound. FBX constant-Q filters are 10 times narrower than graphic EQ filters. Narrow filters mean more gain and more clarity. Its that simple.
FOR MICROPHONES WITH XLR CONNECTORS!
LOCKING FIXED FILTERS FREEZES PLACEMENT AND DEPTH

PROGRAMMABLE NOISE GATE

PATCH IN:
FBX-SOLO SL-820, w/ 1/4 CONNECTORS
USE THE SOLO SL-820 FOR: s MIXER INSERT POINTS
INPUT CHANNEL OR SUB-GROUP, MICS OR INSTRUMENTS

PATCH OUT:

s POWERED MIXERS s INSTRUMENTS WITH PICKUPS
INTO YOUR AMP OR THE MIXER

s GREAT FOR KARAOKE AND

HARMONICA MICS!
s ANY DEVICE WITH 1/4 CONNECTORS
FILTER WIDTH SELECT UNITY GAIN: LEVEL IN = LEVEL OUT USE A SINGLE 1/4 TRS CORD FOR INSERTS
New Features of the 820 Series:
20-bit digital Greatly enhanced frequency response and dynamic range 8 Patented FBX Filters Improved FBX algorithm faster and more accurate Two-stage filter reset reset just Dynamic filters or all filters
FAST ONE-MINUTE SETUP! s PATCH IN THE SOLO. s RAISE THE CHANNEL GAIN AND LET
THE SOLO KILL THE FUNDAMENTAL FEEDBACK POINTS.
s ADJUST CLIP LEVEL, AND YOURE

READY TO GO!

Heres what you get with the FBX-SOLO:
More gain. for the first time youll have to turn down the monitors! Increased clarity and intelligibility. narrow filters remove feedback and leave your sound untouched Automatic feedback control. in setup and during the performance Programmable Noise Gate
The FBX-SOLO is the perfect solution for wireless mics youll be able to move freely without worrying about feedback. Patch it in your monitors and theyll be so loud you may have to turn them down. Get the volume you want with your acoustic/electric instrument or harmonica mic and keep that rich tone. And the built-in noise gate provides the control you need in multi-mic locations like conference rooms and courthouses. Wherever you have a microphone, the FBX is the most effective and least expensive way to make a dramatic improvement in your sound system. Hearing is believing ask your dealer today for a demo of the affordable new FBX-SOLO 820 Series.
FBX-SOLO SM-820, w/ XLR CONNECTORS
USE THE SOLO SM-820 FOR: s BALANCED MICROPHONES s SWITCHABLE PHANTOM POWER s MIC LEVEL OR LINE LEVEL OUT
13301 Highway 441 Alachua, Florida 32615 USA Tel: (386) 418-2000 Fax: (386) 418-2001

FILTER WIDTH SELECT

SWITCHABLE OUTPUT LEVEL: MIC OR LINE

PROVIDES 48V PHANTOM POWER

www.sabine.com

THE INSIDE STORY ON FBX FILTERS
FBX filters come in two types: fixed and dynamic. Both are placed the same way: Feedback is detected and ultra-narrow filter is placed just deep enough to eliminate it. The difference comes after the filter is placed. Fixed filters remain on the initially detected feedback tone - they do not move. These filters provide the initial maximum gain before feedback and are set automatically during setup. Dynamic filters can release and move to new feedback frequencies, and are for adaptive feedback control during the performance. Factory default is 6 fixed and 2 dynamic, but this is easily changed using front panel controls. For maximum gain before feedback, use more fixed filters. For more adaptive feedback control during the show (for example, with several roving wireless mics), use more dynamic filters.
FBX 1/10-Octave Filter vs. Graphic EQ Filter
FBX ENGINEERING SPECIFICATIONS Filters
Eight independent digital notch filters controlled automatically from 40Hz to 20 KHz Filter width: user-controllable, 1/10 or 1/5 octave, True Constant Q* Filter depth: DSP controlled, variable to -40dB Resolution: 1/50 octave Time required to find and eliminate feedback: 0.4 seconds, typical @ 1KHz Total number of combined filters active: User selectable, from 1 to 8 Number of Dynamic vs. Fixed filters: User selectable Last configuration stored in memory

Input/Output SL-820 only

I/O Connectors: 1/4 TRS; tip=input, ring=output, sleeve=ground Input Impedance: Unbalanced >1 meg Ohm Output Impedance: Unbalanced 10 Ohms nominal; Maximum load 2K Ohms Maximum Input/Output Level at lowest gain: +20 dBV Peak Gain Range (with line out selected): 0 to +35 dB (high in), +30 to +65 dB (low in) Input to Output Gain @ unity setting: +/- 0.5 dBV Bypass: Digital

Input/Output SM-820 only

A DIRECT HIT ON FEEDBACK! The FBX-SOLO precisely targets feedback without taking a big chunk out of your sound. Test prove that a single 1/3-octave EQ slider pulled down 12 dB removes almost half of the power going to the speakers over a two-octave range. And, as the above illustration shows, you cant place a graphic EQ filter exactly on the ringing frequency. When you pull down multiple sliders in a normal setup (below), you end up with giant holes in your music. FBX filters are ten times narrower you get back more than 90% of the power you lose with a graphic EQ! That means more gain before feedback and no loss in your sound quality.

FBX vs. 1/3-Octave Graphic EQ
I/O Connectors: XLR-3 PIN 2 high balanced Input Impedance: 1 K Ohm nominal Output Impedance: Unbalanced 10 Ohms nominal; Maximum load 2K Ohms Maximum Input/Output Level at lowest gain: -10 dBV** Gain Range: -15 to +20dB (at high output) Input to Output Gain @ unity setting: +/- 0.5 dBV Bypass: Digital EIN: -105dBm @ 150 Ohms, 20Hz-17KHz or better Phantom Power: 48V switch selectable

Performance***

Frequency Response: < +0.25 dB, 20 Hz to 20 KHz SNR: >94dB typical THD: <0.01% @ 1KHz @ +15 dBV Dynamic Range: >100dB

Noise Gate

WHO RELIES ON THE FBX: NASA The Late Show With David Letterman Walt Disney Company Luxor Hotel American Stock Exchange Shea Stadium Oprah Winfrey Show Sydney (Australia) Olympic 2000 Site Hewlett Packard Jacob Javitz Convention Center Museum of Flight Grand Ole Opry Kentucky Derby Museum Singapore World Trade Centre Iowa State Education System Hyatt Regency, San Francisco Craig Chaquico Cathedral of the Madeline, Salt Lake City Full Sail Center For Recording Arts Orlando Arena Australian Federal Parliament NBC Studios Los Angeles Ohio University Telecommunications Center Citrus Bowl Offspring Capitol Radio Crystal Cathedral Sea World MGM Studios Australian Television Network CBS Sound Shop Sounds Great Enterprises Sound Services Canadian Broadcast Company TNN (The Nashville Network) Up With People Jacksonville Jaguars Stadium United Nations (New York).And thousands more! FBX APPLICATIONS: SOUND REINFORCEMENT Mains Monitors MIXER INSERT POINTS POWERED MIXER PATCH POINTS HIGH-IMPEDANCE & BALANCED MICROPHONES ACOUSTIC GUITARS WITH PICKUPS INSTALLATIONS Theatres Schools Churches Hotels Conference Rooms Sports Arenas Courtrooms TELECONFERENCING INTERCOMS INTERACTIVE REMOTE CLASSROOMS
Attack Time: Fixed (400 mS) Threshold: Selectable (-24dB, -36dB, -48dB, -60dB)

Power Supply

8-20VDC @ 400 mA

Dimensions

1-U height, 1/6-U width; 2.78 x 1.65 x 5.5 in. (6.95 x 4.13 x 13.75 cm)

Weight

9.0 oz. (0.26 kg)

Options

SL6RACK Rack Tray (holds up to six units)
A PA System was set up using a microphone, mixer, FBX, power amp and two speakers. The systems gain was raised until the FBX removed nine feedback points. Next the FBX was replaced with a graphic EQ. The EQ was adjusted while the system gain was raised to the same level achieved with the FBX. The frequency response curves of each device were then plotted.
*Below approximately 200 Hz the feedback filters become slightly wider to increase the feedback and rumble capture speed at these low frequencies. **(Note: Inputs may be balanced or unbalanced. For maximum output capability, outputs must be balanced (XLR). If either side of an input is grounded, the peak output and dynamic range will be reduced by 6 dB. *** Tests performed using an Audio Precision System One model 322 or equal. (SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE)

FBX-SOLO SM820

Specifications

SM-820

CLIP BY 5 7

LO OUTPUT

LOCK 6 8

HI ON PHANTOM OFF

CLIP LEVEL ADJUST

-6dB -12dB -18dB

FILTER WIDTH

1/10 1/5

BYPASS

LOCK FIXED

+ 12VDC -
PERFORMANCE*** Frequency response: < +/- 0.75 dB, 20Hz to 17,000Hz. Signal to noise ratio: > 94 dB typical. Total harmonic distortion: < 0.01% @ 1 KHz @ any gain setting. Dynamic range: > 100 dB. Selectable noise gate. POWER Power supply: 8-20VDC @ 400 mA.
The Sabine FBX-SOLO controls feedback on one microphone or instrument - you decide which inputs get precision, automatic feedback control and maximum gain, from one channel to all your channels. features include increased headroom, a programmable noise gate, & switchable input/output levels for more versatility. The FBX-SOLO targets feedback without taking a big chunk out of your sound. Digital FBX filters are 10 times narrower than graphic EQ filters. You get back over 90% of the power you lose with a graphic EQ! the FBX-SOLO automatically detects and eliminates feedback while leaving the sound crystal clear. The patented algorithm distinguishes music from feedback so it works even during the program, not just at setup time. If you use your 31-band EQ just to shape your sound and let your FBX control feedback, you should expect up to 9 dB more gain and a dramatic improvement in the sound quality. Why? When you pull down a graphic EQ slider to chase feedback, you also pull out a big chunk of your sound. FBX constant-Q filters are 10 times narrower than graphic EQ filters. Narrow filters mean more gain and more clarity.
FBX/PARAMETRIC FILTERS Eight independent digital notch filters controlled automatically from 40Hz to 20,000Hz. Filter width: 1/10 or 1/5 octave (selectable), constant Q. Filter depth: DSP controlled, variable to - 40dB. Resolution: 1/50th octave. Time required to find and eliminate feedback: 0.4 seconds, typical @ 1KHz. Total number of combined filters active: user selectable, from 1 to 8. Number of dynamic vs. fixed filters: user selectable. Last configuration stored in memory. INPUT/OUTPUT XLR-3 pin 2 high balanced. Input impedance: 1K Ohm nominal. Gain range: -15 to +20 dB (at high output). Maximum input/output level at lowest gain: -10 dBV.** Input to output gain @ unity setting: +/-0.5 dBV. Phantom power: 48V switch selectable. Output impedance: unbalanced 10 Ohms nominal; maximum load 2K Ohms. Bypass: digital. EIN: -105 dBm @ 150 Ohms, 20Hz-17KHz or better.
DIMENSIONS 1-U rack mount height, 1/6-RU width; 2.78 x 1.65 x 5.5 in. nominal; 6.95 x 4.13 x 13.75 cm nominal. Weight 9.0 oz. (0.26 kg) nominal. Optional rack tray holds up to six units.
The automatic feedback controller shall be a single channel digital signal processor for use with balanced microphones, with six 1/10- or 1/5-octave filters (selectable) and shall include a microphone preamp. The filters shall be constant Q (filter skirts do not widen as the filters get deeper). The unit shall automatically sense feedback and determine its pitch, then assign a digital notch filter to the resonating frequency to automatically eliminate the feedback. It shall effectively distinguish between music and feedback and shall be operational during the program. The product shall use two types of user-selectable notch filters: fixed or dynamic. The fixed filters shall remain set on the initial feedback frequencies, while the dynamic filters shall be automatically reassigned new frequencies as feedback occurs during the program. The unit shall include: a TURBO mode for quick setup; a two-position push button power switch; a twocolor active/bypass button and LED for setting the unit to control feedback (active mode) or to take the unit out of the signal path so it has no effect on the program (bypass mode); a reset button so all filters may be re-configured; a lock fixed button and LED, which allows the user to lock fixed filters created during system setup and to limit the total number of active filters; a clip level adjust knob; clip LEDs, which indicate clip level and also indicate threshold level when enabling the selectable noise gate; filter stage activity LEDs to indicate active filters; a filter width switch to select 1/10- or 1/5-octave filters; an output lo/hi switch to choose output level; and a phantom power on/off switch. The unit shall also be provided with a microphone preamp, an external power supply, and XLR-3 input and output. The automatic feedback controller shall be the Sabine FBX-SOLO SM820 Feedback Exterminator.

Architects and Engineers Specifications:
Below approximately 200 Hz the feedback filters become slightly wider to increase the feedback and rumble capture speed at these low frequencies.
**(Note: Inputs may be balanced or unbalanced. For maximum output capability, outputs must be balanced (XLR). If either side of an input is grounded, the peak output and dynamic range will be reduced by 6 dB. ***Tests performed using an Audio Precision System One model 322 or equal. (SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE)