DSC260

Digital System Controller

Owners Manual

8500 Balboa Blvd.

Northridge, CA 91329
DSC260 Preliminary Owners Manual Revision 0.9

TABLE OF CONTENTS
1.0 INTRODUCTION ...................................................................................................................................... 1

2.0 GETTING STARTED................................................................................................................................ 2

2.1 UNPACKING.............................................................................................................................................. 2
2.2 MECHANICAL MOUNTING ......................................................................................................................... 2
2.3 AC POWER CONNECTIONS ........................................................................................................................ 2
2.4 AUDIO CONNECTIONS ............................................................................................................................... 2
2.5 CONTROLLER CONNECTIONS..................................................................................................................... 2
3.0 A QUICK START ....................................................................................................................................... 3

4.0 GENERAL OPERATION.......................................................................................................................... 4

4.1 LED INPUT BARGRAPHS .......................................................................................................................... 4
4.2 LED OUTPUT BARGRAPH ........................................................................................................................ 4
4.3 MUTE ..................................................................................................................................................... 4
4.4 STORE(ENTER) AND RECALL.................................................................................................................... 4
4.5 PLUS AND MINUS ..................................................................................................................................... 4
4.6 LCD DISPLAY SCREEN ............................................................................................................................ 4
4.7 ACCESS BUTTONS.................................................................................................................................... 5
5.0 ULTILITY CONTROL PARAMETERS ................................................................................................... 6
5.1 STEREO LINK .......................................................................................................................................... 6
5.2 DEVICE CONFIGURATION ......................................................................................................................... 7
5.3 DELAY UNITS .......................................................................................................................................... 7
5.4 LOCK OUT............................................................................................................................................... 8
5.5 MIDI CHANNEL ....................................................................................................................................... 8
5.6 CONTRAST .............................................................................................................................................. 8
5.7 OEM LOCK............................................................................................................................................. 8
5.8 MIDI DUMP ............................................................................................................................................. 8
5.8 PROGRAM DELETE ................................................................................................................................... 9
6.0 INPUT SECTIONS................................................................................................................................... 11
6.1 INPUT DELAY ........................................................................................................................................ 11
6.2 INPUT EQ.............................................................................................................................................. 11
7.0 OUTPUT SECTION NAME, SOURCE, DELAY AND POLARITY .................................................... 12
7.1 NAME ................................................................................................................................................... 12
7.2 INPUT SOURCE....................................................................................................................................... 12
7.3 OUTPUT GAIN ....................................................................................................................................... 12
7.4 LIMITER THRESHOLD ............................................................................................................................. 12
7.5 VARIABLE OUTPUT DELAY..................................................................................................................... 13
7.5 DELAY LINKING .................................................................................................................................... 14
7.6 SWITCHABLE POLARITY ......................................................................................................................... 14
8.0 OUTPUT CROSSOVER SLOPES AND FREQUENCIES...................................................................... 15
8.1 LOW EDGE FILTER TYPE ......................................................................................................................... 15
8.2 LOW EDGE FILTER FREQUENCY ............................................................................................................... 16
8.3 HIGH EDGE FILTER TYPE......................................................................................................................... 16
8.4 HIGH EDGE FILTER FREQUENCY .............................................................................................................. 16

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9.0 ASSIGNABLE EQ ................................................................................................................................... 17

9.1 EQ TYPE .............................................................................................................................................. 17
9.2 EQ FREQUENCY .................................................................................................................................... 18
9.3 EQ CUT/BOOST .................................................................................................................................... 18
9.4 EQ BANDWIDTH ................................................................................................................................... 18
9.5 MORE THAN YOU PROBABLY WANT TO KNOW ABOUT FILTER/EQ ASSIGNMENT .......................................... 19
10.0 STORE, RECALL AND SECURITY .................................................................................................... 20
10.1 PROGRAM NAMING .............................................................................................................................. 20
10.2 PROGRAM STORING ............................................................................................................................. 20
10.4 PROGRAM RECALL ............................................................................................................................... 20
10.5 SECURITY SETTINGS ............................................................................................................................ 21
11.0 TECHNIQUES, TRICKS AND TRAPS ................................................................................................ 23
11.1 USE BOTH HANDS................................................................................................................................ 23
11.2 OH, WHERE HAS MY OUTPUT GONE?..................................................................................................... 23
11.3 DELAYS IN 1, 2, 3 STEPS ...................................................................................................................... 23
11.5 I’M TRYING TO ADJUST THE CROSSOVER OR EQ BUT IT WON’T GO AS HIGH OR AS LOW AS I WANT ............ 23
11.6 I CAN’T GET THE DELAY TO GO TO IT’S MAXIMUM OF 635 MS ................................................................. 23
11.7 I DON’T HAVE ANY LINKED DELAYS, BUT I CAN’T GET THE MAXIMUM 630MS OUT OF THE UNIT ................ 23
11.8 “WARNING, NO MORE FILTERS” .......................................................................................................... 23
11.9 THE DSC260 HAS A SPLIT PERSONALITY .............................................................................................. 23
11.10 START WITH THE BASS ....................................................................................................................... 23
11.11 I’VE DONE IT YOUR WAY BUT I NEED MORE EQ ON INPUTS OR OUTPUTS 1 & 2....................................... 24
12.0 SPECIFICATIONS ................................................................................................................................ 25

APPENDIX A: CONNECTOR WIRING INFORMATION......................................................................... 26

APPENDIX B: OUTPUT ASSIGNMENT MATRIX FOR JBL SYSTEMS................................................ 27

APPENDIX C: MIDI IMPLEMENTATION ................................................................................................ 29

DSC-260 MIDI SYSEX FORMAT .................................................................................................................... 29
OVERWRITE MEMORY REQUEST.................................................................................................................... 29
DELETE ALL REQUEST .................................................................................................................................. 30
SYSTEM DUMP REQUEST............................................................................................................................... 30
PROGRAM DUMP MESSAGE ........................................................................................................................... 31
APPENDIX D: USER PROGRAM TEMPLETES ....................................................................................... 32

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0.0 Safety Information

Explanation of Graphic Symbols

The lightning flash with the arrowhead symbol, within an equilateral triangle, is intended to alert
the user to the presence of insulated “dangerous voltage” within the product’s enclosure that
may be of sufficient magnitude to constitute a risk of electric shock to humans.

The exclamation point within an equilateral triangle is intended to alert the users to the presence
of important operating and maintenance (servicing) instructions in the literature accompanying
the product.

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES
INTERIEURES PAR L’USAGER. CONFIER L’ENTRETIEN AU PERSONNEL QUALIFIE. AVIS:
POUR EVITER LES RISQUES D’INCENDIE OU
D’ELECTROCUTION, N’EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L’HUMIDITE.

All DSC260 products are fitted with a detachable power cord (supplied) which connects to the chassis AC connector. The
power cord has an IEC female connector on one end and a male mains connector on the other end. This cord is supplied
specifically to accommodate the different safety and electrical code requirements of individual countries. The power cord
supplied with your DSC260 has a 3-pin type plug. Do not cut off or damage the grounding pin.

If you are traveling abroad with your system, test the power mains and be aware of any specific voltage requirements. If you
are in doubt, have a qualified electrician inspect and correct the condition. The input voltage and frequency is listed on the
label near the IEC power input connector. JBL is not liable for product damage sustained by improper AC mains power
connection.

JBL Professional
8500 Balboa Blvd.
Northridge, CA 91329
U.S.A
Tel: 1 (818) 894-8850
Fax: 1 (818) 830-1220
Web: www.jblpro.com
The information contained in this document is confidential and copyright of JBL Professional. To convey its contents, in part or in whole to any
third party without prior written authorization is a violation of the copyright. (c) JBL Professional 1997.
DSC260 Preliminary Owners Manual Revision 0.9

1.0 Introduction
Thank you for purchasing the JBL DSC260 Digital System Controller, a specialized device designed for overall system
control. It provides electronic crossover, transducer equalization, signal alignment, level matching and protection limiting for
your system. Its advanced design and high quality components, coupled with in-depth acoustical measurements and
extensive listening tests, provides superior sonic performance. By integrating the various system control requirements into
one package, the DSC260 offersunparalleled performance for touring, fixed installation and monitoring requ irements.

The DSC260 can be set up in many different configurations offering ultimate flexibility. Mono, two way and three way
defaults are included. The user can also program additional configurations such as mono four, five or six way. Other
configurations include mono four way with the second input feeding either a separate 2 way systems such as a down fill or
delay cluster. The DSC260 flexibility is only limited by the maximum number of inputs and outputs and the users
imagination.

This manual contains the information necessary to properly set-up and operate your JBL System. The maximum output
capability of your system and its safe operation depends on the controller’s setting and your chosen amplifiers. Carefully
follow this manual’s instructions for a long androductive
p relationshipwith your system.

The DSC260 contains the following:

* Active crossover filters with up to 48dB/Octave slopes to divide the audio spectrum into
separate passbands for each transducer. Six outputs can be derived from either of the two
inputs or a sum of both.

* Up to thirty eight bands of parametric or shelving equalization for smoothing system frequency
response over the entire bandwidth and to provide uniform high frequency power response.
(Dependant upon crossover filter requirements)

* 60 storage registers for individual programs including several JBL specific programs such as
Array, Architectural, HLA, SR and DMS
.

* Signal delay on inputs and outputs for delay towers and clusters as well as transducer
alignment with up to 630ms in 21 µs steps.

* Output limiters to protect system transducers from overload damage with adjustable thresholds
and automatic attack and release settings based on crossover frequency for full musical
dynamics.

* Convenient front panel controls forchannel muting, programming and level information.

Additional Features
•Security Lock Out modes for protecting and hidingprogram settings
•Delay units are selectable in meters, feet or milliseconds
•Polarity reversal on each output
•Digital gain adjustment from25- to +4 dB
•MIDI sysex dumputilitiesto save and transferprograms between units and archive settings
•Mutes on each output

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2.0 Getting Started

2.1 Unpacking: Carefully unpack the controller and inspect it for possible concealed shipping damage. Save the packing in case any
damage is discovered and contact the dealer from whom you purchased the controller. In the event the DSC260 is ever shipped
outside of a rack, keep the packing for reuse.

2.2 Mechanical Mounting: The DSC260 occupies one standard rack space (1U). When mounted in an equipment rack that is
transported, it should be supported by a shelf or other equipment to prevent flexing of the mounting ears.
2.3 AC Power Connections: A 3-wire grounded outlet must always be used. The DSC260 will accept input AC from 100 - 240 Volts, 50-60
Hz. The DSC260 does not have a power switch and must be shut down by removing the IEC power connector.

WARNING: THIS DEVICE MUST BE GROUNDED!

The ground terminal of the IEC plug is required by wiring codes and regulations. It must always be connected to the
electrical installation safety ground. The DSC260 has carefully designed internal grounding and balanced inputs and
outputs to reduce the chance of ground loops (hum). If hum occurs see Appendix A for suggested correct audio signal
wiring and system grounding. Replace fuse only with
a new fuse of correct size (20 mm) and rating (T1A250v).

Figure 1 DSC260 Back Panel

2.4 Audio Connections: The DSC260 has two balanced inputs and six balanced outputs that can accommodate both balanced and
unbalanced signals and are wired with Pin 2 hot. The two female XLR inputs are balanced, with pin 1 isolated to prevent ground
loops. The six male XLR outputs are balanced, with pin 1 connected to ground. Pin 2 or pin 3 can be used as "hot" provided that
the inputs and outputs are wired to the same standard. Two conductor shielded audio cable should always be used for all inputs
and outputs.

Note: Because the DSC260 outputs can be programmed for any passband, caution must be taken
when connecting the outputs to the amplifiers. Miswiring can connect low frequency information to
high frequency drivers causing serious damage (not covered by warranty) to the drivers.

2.5 Controller Connections: MIDI in, out and thru jacks are located on the back panel. These allow remote program recall and MIDI sysex
dump capability. In addition, an RS-232 connector allows updating of the Flash Memory as software updates become available.
More information on these procedures is contained in Appendix C.

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3.0 A Quick Start

To fully understand the operation and programming of the DSC260, the user should read at least sections 4 through 6. But
since we know that most users have already plugged the unit in and started to explore, here is a quick start to get you up
and running if you have a JBL system that is already programmed in the DSC260.

1.Before making any connections between the controller and the amplifiers, make sure that all power to the
amplifiers is disconnected and their level controls are completely down.
2.The DSC260 has been programmed for many popular JBL Speaker System models. Before connecting the
controller to the amplifiers, this program should be changed to a setting that matches your JBL system.
Appendix B lists the various output assignments.
3.Select the appropriate program by powering on the DSC260 then pressing RECALL. Use the Parameter Plus
and Minus buttons located on the left side of the LCD panel to page up and down until the correct setting is
visible. Press RECALL after the cursor is on the setting.
4.Connect the console outputs to the inputs of the DSC260. Left to A and Right to B. In the case of a mono
system, use input A.
5.Connect the outputs of the controller to the amplifier input channels maintaining the Left and Right identification.
Typically the higher the number of the output, the higher the frequency content. i.e. In a 2 channel 3 way
default, outputs 1 & 2 are Low, 3 & 4 are Mid and 5 & 6 are High. As the outputs vary depending upon the
type of system and program loaded into the DSC260, consult Appendix B for correct output information.
6.Turn on the power to the console, controller(s) and finally the amplifiers. (It is best to turn the amplifiers on last
and off first to prevent any thumps or pops from damaging the transducers.)
7.Apply a signal source to the controller. This can be pink noise, a tone or music.
8.Unmute the outputs on the DSC260, one at a time. The RED LEDs below each Output Meter signify the output
is muted.
9.Advance each amplifier channel slowly and confirm that the signal reaching the transducers is correct. (It is best
to begin with channels driving the low frequency transducers first. In this way, if the high and low are
reversed, high frequency signals will be going to the woofer. It’s better to find this problem than the low
frequencies going to the high frequency device!)
10.After it is confirmed that all transducers are receiving the proper signals, initial calibration can begin.

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4.0 General Operation

Figure 2 DSC260 Front Panel

4.1 LED Input Bargraphs The input bargraphs are peak responding to the input signal and also indicates digital clipping. The inputs always
show the input level as calibrated to the XLR inputs. i.e. (+20 dBu=Maximum Input) -3dB, -6dB, -12dB and a signal present
show the level below maximum input. In addition, the “Clip” lights function both as analog input “Clip” indicators and signal if there
is clipping in the Digital Signal Path. If both A & B “Clip” LEDs flash yet a yellow -3 does not, this would indicate that the DSP is
clipping and not the analog input circuitry. This situation would most likely be caused by excessive digital gain or EQ in one or
more outputs.

Figure 3 Output Bargraphs and Mute

4.2 LED Output Bargraphs: The output bargraphs 0dB headroom reference is shifted with respect to the limiter settings. In this way, each
output can be set to reflect the specific level below maximum for the respective output. i.e. If a limiter is set to +8, then the
“Limit” LED represents an output of +8dBu and the -3, -6 and -20dB LEDs refer to this level and signify +5, +2 and -12dBu,
respectively. This relationship remains regardless of output gain settings as the limiters are the final element in the programming
path. As an example, if a +4dBu signal is routed to an output and the gain is set to 0dB and the limiter is set to +10dBu, then the
-6dB Led would light indicating 6 dB of headroom. (+10dBu - (4 + 0)dBu = 6dB)
4.3 Mute: Pressing any of the front panel Mute keys will toggle the respective channel in and out of mute. The LED will reflect the mute
status. A Red LED on signifies the output is muted.

Figure 4 Store, Recall and Parameter Adjust

4.4 Store(Enter) and Recall: These keys allow the user to store and recall programs from the internal memories. The Store key is also
used as an Enter Key to confirm certain operations such as a configuration change from 2 way to 3 way, MIDI Dump and OEM
hiding which are explained further in Section 5.0 on Utility Control Parameters.

4.5 Plus and Minus: These keys adjust the currently selected parameter up or down. In the case of a non-numeric parameter, these keys
scroll through a predefined set of variables.

4.6 LCD Display Screen: This 2 x 16 character LCD displays all required programming information. It is, in effect, a window into a large
grid of adjustable parameters that moves from row to row and column to column. Figure 5 below as well as the back of this
manual is a diagram of the programming grid. Upon turn on, the software revision will also appear briefly. The bottom line shows
the program number and name of the stored program. An asterisk indicates that a program has been edited since the last store.
This shown in the top right of the LCD display on all screens except the default.

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The current program has been edited since the last Store command:

IN A *
Delay 715 ’ 12.1 ”

Figure 4 Access Buttons

4.7 Access Buttons: These four buttons step the display through input, output and system variables which are grouped in a grid as shown
below in figure 5. All inputs and outputs are configured in rows with their respective parameters in columns. There are rows for
Input A, Input B, Input Sum A+B, and Outputs 1 though Output 6. In addition, a row of Utility Control parameters is included.
The Up and Down Access keys move the user between rows. The Next and Last keys step the user through the variables
within the currently selected row. See section 9.0 on ASSIGNABLE EQ for the use of Next and Last to assign EQ to a channel.

Figure 5 DSC260 Programming Grid

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5.0 Utility Control Parameters

To access the Utilities Row use the Up or Down Access keys to scroll through the rows. Individual Utility parameters are
reached by pressing Next and Last from the default screen.

Figure 6 Utility Control Menu Options

5.1 Stereo Link This parameter adjusts the stereo linking of various outputs using the Plus and Minus keys to select between Mono, 2
channel x 3 way and 3 channel x 2 way. The linking works with the Configuration parameter located to the right of the Stereo
Link parameter. In 2 channel x 3 way mode, output pairs 1 and 2, 3 and 4, 5 and 6 are linked. Typically the bass output would be
output 1 and 2. In 3 channel x 2 way mode Outputs 1, 2 and 3 are typically low and 4, 5 and 6 are high. There are two different
relationships between linked variables, step and offset. A Step Variable has discrete selections such as filter type, high pass
slope, polarity, etc. If a Step Variable is changed e.g. high pass slope type, both channel values will be forced to the same value
if linked. Those parameters that don’t have discrete selections such as gain, frequency or delay can have offsets between them
when the channels are linked. These are called “Offset Variables.” If any linked variable reaches the variable’s limit, none of the
linked variables will be able to move further in that direction. Table 1 detail these relationships.
Link on and off:

UTILITIES
Stereo Link On

Parameter Linking Type 2 Channel 3 Way 3 Channel 2 Way

Input Delay Offset Variable A-B A-B
Input EQ Type Step Variable A-B A-B
Input EQ Frequency Offset Variable A-B A-B
Input EQ +/- Offset Variable A-B A-B
Output Name Offset Variable 1-2 1-3
Output Source Offset Variable A - 1, 3 & 5, B-2, 4 & 6 A - 1& 4, B - 2 & 6, A+B - 3 & 5
Output Gain Offset Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output Limit Offset Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output Delay Offset Variable 1 - 3, 3 - 5, 2 - 4, 4 - 6 1 - 4, 2 - 5, 3 - 6
Output Delay Link N/A 1 - 3, 3 - 5, 2 - 4, 4 - 6 1 - 4, 2 - 5, 3 - 6
Polarity Step Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output Lo Shape Step Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output Lo Frequency Offset Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output Hi Shape Step Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output Hi Frequency Offset Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output EQ Type Step Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output EQ Frequency Offset Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Output EQ +/- Offset Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6
Eq Width Offset Variable 1 - 2, 3 - 4, 5 - 6 1 - 3, 4 - 6

Table 1 Linked Parameter Relationships

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5.2 Device Configuration, selectable Mono, 2 channel x 3 way, 3 channel x 2 way. Changing this mode changes the overall routing and
linking of the unit. If the user changes this value, the user will have to confirm the selection as routing, linking, delay linking and
band name data will be changed. The unit will also mute to ensure that the user can check that the outputs have appropriate
bandwidth settings before continuing. The user can then move to the Output variables and change the routing, delay linking and
band names as required. Figure 7 shows the two standard configurations.
Switching to 2 channel x 3 way configuration will force Outputs 1,3 and 5 to be routed from Input A and Outputs 2, 4 and 6 to be
routed from Input B. All delay linking will be switched off and Stereo Link will be switched on. Band Names will be forced to ' Low',
'Mid', 'High', 'Low', 'Mid', 'High' for outputs 1 - 6 respectively. When only 2 way systems are used in stereo, outputs 3-6 are used
for Low (3-4) and High (5-6). This allows subwoofers to be added on outputs 1 and 2 without rewiring existing systems.
When using a derived center cluster feed such as in L, C, R, the configuration can be changed to a 3 channel 2-way
configuration where the center channel is a sum of A and B. This 3 channel x 2-way configuration will force Outputs 1 and 4 to
be routed from Input A and Outputs 3 and 6 to be routed from Input B. Outputs 2 and 5 will be routed from Input A+B. All delay
linking will be switched off and Stereo Link will be switched on. Band Names will be forced to 'Low' and ‘High'.
Switching to Mono configuration will force all Outputs to be routed from Input A. Delay linking will be switched off and Stereo
Linking will be switched off. Band Names will be forced to 'Band 1' through 'Band 6'.
Configuration:

UTILITIES
Config 3CH 2 way
To change configurations press the Plus and Minus parameter keys to select the desired configuration, mono, 3-way or 2-way.
This will call up the dialogue box below that will give you the question “Change to Mono?, 2-way or 3-way.
Change configuration?:

Change to 3 way?
Store to confirm
Pressing store will reconfigure the DSC260 to the desired set-up. Pressing any of the access keys will cancel the operation
and return you to the previous configuration.

2 Channel 3 Way Configuration 3 Channel 2 Way Configuration

Figure 7 Linking Relationships

5.3 Delay Units, selectable ms, ft and m: The delay units can be selected for the specific application in milliseconds, feet or meters. Use
Parameter Plus and Minus keys to select the preferred measurement units. Moving to a different position on the grid will
automatically store this parameter and recalculate the delay values for all displays.
Delay units:

UTILITIES

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Delay Units ms

5.4 Lock Out selectable On or Off. With Lock Out ON no displayed variables (except Lock Out) can be adjusted. Mutes can still be
adjusted. With Lock Out ON, no programs can be stored or recalled. For more information on other lock systems, see section 10
- Security.
Lock Out:

UTILITIES
Lock Out Off

5.5 Midi Channel Number; 1 to 16. Midi is used to transmit sysex dump data between units and transmit and receive program change.
Use the Plus and Minus keys to adjust the channel number.
Midi channel number:

UTILITIES
Midi Channel 15

5.6 Contrast: The +/- Parameter keys increase/decrease the LCD display contrast. A graphical indication of the variable changing is
displayed.
Contrast:

UTILITIES
Contrast /

5. 7 OEM Lock. Pressing the Plus button will take the user into the OEM Lock password screen. See section 10 for more information on this
function.
OEM Lock:

LOCK UTILITIES
OEM Lock Off

5.8 Midi Dump. This utility is used to dump program information between DSC260 units as well as to any MIDI Sysex capable sequencer or
computer. Attach a MIDI cable from the MIDI Out of the sending unit to the MIDI In of the receiving unit.
Sending Unit Midi Dump Screen:

UTILITIES
Midi Dump No
Pressing the Plus parameter key on the sending unit will bring up a “MIDI Dump Yes” message with “Store to Confirm?”
Sending Unit Midi Dump screen

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Midi Dump?
Store to confirm

At this time a Midi sysex message is sent out that prompts a DSC260 receiving unit that an incoming Midi dump will occur and
the receiving unit will display the message below.

Receiving Unit Screen after MIDI Dump Prompt:

Incoming Dump
Allow Dump? Yes

If you do not want the receiving unit to overwrite the memories, press the Minus key on the receiving unit to change the Allow
Dump message to “No.” If this occurs, then the receiving unit will return to its normal operation and ignore any incoming program
information.

Pressing Access Up or Down at any time will return the sending unit to the Utility list.

Pressing Store/Enter on the sending unit performs the dump. The screen displays a percentage of the dump performed. See
Appendix C on MIDI Sysex for additional information.
Midi Dump screen

Midi Dump
50%

5.8 Program Delete. The Plus key enters the program delete screen.
Program delete?:

UTILITIES
Delete Prog No

Select the program using thePlus and Minus Keys.

DELETE
31 4892-90 @

Delete Program?
Store to confirm

5.8.1 The Plus/Minus keys select the program to Delete.

5.8.2 Pressing Access at any time will return to the Default screen.

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5.8.3 Pressing Store/Enter a second time will delete the program.

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6.0 Input Sections

On the DSC-260 there are three input sections; Input A, Input B and Input Sum A+B. When Inputs are linked in the Utility section
both Input A and Input B variables are ganged. The sum variables are not ganged with A or B. The input sum of A+B only has a
Delay value to edit. All EQ is done on the individual unmixed inputs and then summed into Input A+B.

Figure 8 Input Parameters

Input A delay when in mono mode:

IN A
Delay 630.000ms
Input A+B Sum delay:

IN SUM A+B
Delay 0.000ms
Inputs A and B stereo linked: (Note the ampersand in place of the A + B to indicate stereo
linked.)

IN A & IN B
Delay 630.000ms
6.1 Input Delay: There is a main delay 0 - 635ms with 21 µs increments for Input A, Input B and Input A+B. The Plus/Minus buttons
accelerate in their effect the longer the buttons are held by increasing the size of the steps. To return to the small increment
settings release the key then press again to begin with 21 µs steps again. Delay units are set in the Utility section. At no time
can there be more than 635.417 ms of delay on any input to output path.
Input A delay in feet and ins:

IN A
Delay 715' 2.9"
Input A delay in meters:

IN A
Delay 218.005m
6.2 Input EQ: Input A and B can have EQ assigned. High and low shelving with 12dB or 6dB/octave slopes as well as full parametric band
are available. See Section 9.0 on Assignable EQ for more information. Input A+B is a sum of inputs A and B after any Input EQ.

7.0 Output Section Name, Source, Delay and Polarity

On the DSC260 there are six output sections; Output 1 through Output 6. When the unit is stereo linked in the Utility Menu,
various outputs are linked so that when changing variables such as EQ or Crossover, both channels operate together. In 2
channel x 3 way configuration, output 1 and 2 variables, output 3 and 4 variables and output 5 and 6 variables are ganged in

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pairs. In 3 Channel x 2 way configuration outputs 1, 3 and 5 outputs are linked as are 2, 4 and 6. When outputs are linked, the
band name is derived from the channel assigned to the lower numbered output. Similarly, if the linked outputs are effset, the
parameter valuse for the lower numbered output is displayed. From the Output parameter rows the Next and Last keys step
through the output parameters.

7.1 Name: The Output ‘band’ name is selectable from a pre-programmed list. Use the Plus and Minus parameter keys scroll through this
list.
Output 5 name:

OUT 5
Name High

7.2 Input Source: The combinations are as follows: Input A, Input B or a sum of Inputs A and B denoted as Input A + B. When Stereo
Linked in 2 channel x 3 way mode, the selections are normally Inputs A & B. Notice the “&” in place of the “+” sign to denote A
and B, not A plus B which signifies a sum of the two inputs.

Output 1 source:

OUT 1 Subs
Source IN A

Stereo Linked Output 1 & 2 source:

OUT 1 & 2 Subs

Source IN A & B

7.3 Output Gain: -25dB to +4 dB in 0.5dB steps. The nominal setting for outputs is -10dBu. The DSC is set-up to operate normally with a -
10dB attenuation of the input signal to the least sensitive band. This has been designed to minimize the noise floor for those
operators that keep their amplifier gain controls at maximum.
Output 1 gain:

OUT 1 Subs
Gain -15.0dB

7.4 Limiter threshold: -20 to +10dBu. This value is also the output meter reference value. If the Limiter is adjusted to 2.0 dBu as below,
then the output 1 meter will represent +2dBu at limit with the -3, -6 and -20 dB reading relative to that level. i.e. -1dBu, -4dBu and
-18dBu.
Output 1 limiter threshold:

OUT 1 Subs
Limit 2.0dBu

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7.4.1 Limiter Level Calculations: The DSC260 comes from the factory with suggested limiter settings for various
JBL systems. These limiter settings are guidelines for use with specific JBL power amplifiers. There
are two primary uses for these limiters: One is for prevention of amplifier clipping and the second is to
limit the amount of power transmitted to the transducers. When using JBL MPA and MPX power
amplifiers consult the tables in Appendix B for recommended settings for specific amplifiers and power
levels. For other amplifiers or transducers, the method for setting the limiting threshold is given by the
following equation:
Limiting Threshold (dB) = Transducer voltage limit (dBu) - Amplifier gain (dB)
As an example, we first convert a transducer power rating into dBu. Our example transducers has a
continuous power rating of 600 watts. With an impedance of 8 ohms, this corresponds to a voltage of:
0.5
Voltage = (600 x 8) = 69.28 Volts
Expressing this in dBu:
20 log (69.28/0.775) = 39.03 dBu
Next you find the amplifier gain from the published specification in the spec sheet or owner’s manual.
For this example, we will use an MPA1100 amplifier which has 38dB of gain and use the formula:
Limiting threshold = 39dBu - 38dB = 1dBu.
This would be the limiter threshold for 600 watts continuous output into the 8 ohm transducer.

7.5 Variable Output Delay 0 - 635ms: The Plus and Minus buttons accelerate in their effect the longer the buttons are held by increasing
the size of the steps. To return to the small increment settings release the key then press again to begin with 21 µs steps again.
At no time can there be more than 635.417 ms of delay on any input to output path. Delay units are set in the Utility section from a
list of Milliseconds, Meters and Feet/Inches using the parameter keys in the Utility “Delay Units” section. These are displayed as
ms, m and ft, respectively.
Output 1 delay:

OUT 1 Subs
Delay 600.000ms
Outputs 2 and 3 stereo linked:

OUT 3&4 Mid

Delay 600.000ms
Output 1 delay in feet and inches:

OUT 1 Subs
Delay 11' 12.9”
Output 1 delay in meters:

OUT 1 Subs
Delay 3.433m

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7.5 Delay Linking: This is used to maintain offsets between various channels. Typical uses include setting individual transducer delay
offsets for optimum performance and then linking them. If either linked channel’s delay is changed, the linked channel(s) will
follow and maintain the offset. Normally, the transducer delays are set, then any overall delay for cluster alignment or delay tower
set-up. The following table shows the linkable channels in each mode.

Output Mono 2channel x 3 channel x

3 way 2 way
1 2 3 4
2 3 4 5
3 4 5 6
4 5 6 None
5 6 None None
6 None None None

Table 2 Delay Linking Relationships

Delay Linking:

OUT 1 Subs
Delay Link Off

OUT 1 Subs
Delay Link to 2

7.6 Switchable Polarity - Normal or Inverted. Using the Plus and Minus keys, the user can invert the polarity of the output signal. If the
polarity is changed on a linked output, both outputs will change to the same selection.
Output 1 polarity normal:

OUT 1 Subs
Polarity Normal

Output 1 polarity inverted:

OUT 1 Subs
Polarity Invert

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8.0 Output Crossover Slopes and Frequencies

The DSC260 allows full control over each high pass and low pass filter of a crossover segment in shape, slope and
frequency. Graphically theseparameters are labeled as in Figure8 below.

AMPL(dBu) vs FREQ(Hz)
0.0

-5.000 High Filter Edge Low Filter Edge

-10.00
Edge Frequency
-15.00

-20.00

-25.00

-30.00

-35.00

-40.00

-45.00

-50.00
20 100 1k 10k 20k
Figure 9 Filter Edge Identification

8.1 Low edge filter type: Using the Plus and Minus Keys, the Low edge filter type can be selected as Butterworth 12, 18, 24 or
48dB/Octave or Linkwitz-Riley 12, 24 and 48dB/Octave. The options are displayed as: BUT 12, L-R 12, BUT 18, BUT 24, L-R
24, BUT 48, L-R 48. The screen below show a low edge shape of Butterworth 12dB/Octave on output 5 which is labeled High.
The various filter shapes are shown in Figures 11 and 12.
Output 5 low edge type:

OUT 5 High
Lo Shape But 12

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DSC260 Preliminary Owners Manual Revision 0.9

AMPL(dBu)vs FREQ(Hz) AMPL(dBu)vs FREQ(Hz)

0.0 -5.000

-5.000
-10.00
-10.00

-15.00
-15.00

-20.00

-25.00 -20.00

-30.00
-25.00
-35.00

-40.00
-30.00
-45.00

-50.00 -35.00
20 100 1k 10k 20k 100 1k 10k

Figure 10 Linkwitz-Riley 12, 24 and 48dB/Octave Slopes Figure 11 Butterworth 12, 18, 24 and 48dB/Octave Slopes

8.2 Low edge filter frequency: This control adjusts the cut off frequency of the selected Low Frequency Crossover. The range is from
15Hz to 16kHz in approximetly 1/6 Octave steps with “Out” at the bottom end and “Off” when adjusted beyond 16kHz.
Output 3 low edge frequency:

OUT 3 Lo/Mid
Lo Freq 220Hz
Note: If the Low edge filter frequency is raised beyond 16kHz, the channel output will be switched off. This is
different from “Mute” in that any signal assigned to this output will not indicate on the output meters. Output meter
deflection on unused outputs might confuse an operator.

8.3 High edge filter type: As with the Low edge filter frequency there are selections for Butterworth 12, 18, 24 or 48dB/Octave or Linkwitz-
Riley 12, 24 and 48dB/Octave. The various filter slopes are shown in Figures 10 and 11.
Output 3 high edge type:

OUT 3 Mid
Hi Shape L-R 48

8.4 High edge filter frequency: This control adjust the cut off frequency of the selected High Frequency Crossover. The range is from
15Hz to 16kHz in approximetly 1/6 Octave steps with “Out” beyond 16kHz.
Output 3 high edge frequency:

OUT 3 Mid
Hi Freq 2.0kHz

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9.0 Assignable EQ
EQ is found at the end of the each channel’s parameter adjustments. Pressing Next will step through the EQs assigned to the
current input or output in the order: EQ type, EQ Frequency, EQ Cut/Boost amplitude and then EQ Width for “Bell” type filters.
If there is no EQ on the currently selected channel and there is a filter available, the Next button will step into an unused Bell EQ
with 1kHz frequency, 0dB cut/boost and width of 0.3. The EQ type screen also shows the number of spare EQs. The EQ variable
screen also shows the EQ number in the current channel. The letter M or S denotes whether the EQ was assigned when the unit
was linked (Stereo) or unlinked (Mono).
9.1 EQ Type, selectable Lo6, Lo12, Bell, Hi6, or Hi12. The Sp value represents the number of filters available to the current channel. (In
this case eight spare EQs are available. This value may be different for different channels depending on the power available in
each DSP. (See Section 11 on Techniques, Tricks and Traps). This screen shows that this is the first EQ on output 5 which
has been labeled High. It has a shape of Low Shelf at 12dB/Octave and there are eight spare EQs.
EQ type on Eq1 on Output 5

OUT 5 High
Eq1M Lo12 Sp 8

AMPL(dBu)vs FREQ(Hz)
AUDIO PRECISION
AMPL(dBu) FREQ(Hz) 10 JUN 97 06:03:26 AMPL(dBu)vs FREQ(Hz)
10.000
10.000 10.000

5.0000
5.0000 5.0000

0.0 0.0

-5.000
-5.000 -5.000

-10.00
-10.00 -10.00

-15.00
-15.00
-15.00

-20.00
-20.00
-20.00

-25.00
-25.00
-25.00

-30.00
-30.00
-30.00
20
20 100
100 1k 10k
10k 20k
20k
20 100 1k 10k 20k

Figure 12 12dB/Octave Shelving EQ examples Figure 13 6dB/Octave Shelving EQ examples

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9.2 EQ Frequency 15Hz to 16kHz The Frequency of the EQ is adjustable in approximately 1/6 Octave steps. The screen below shows
that this is the first EQ on output 5 which is labeled High. It has a Frequency of 220.0 Hz. (Since it is a Low Shelving filter
this is the - 3dB point.)
EQ freq on Output 5

OUT 5 High
Eq1M Frq 220.0Hz

9.3 EQ Cut/Boost -15 to +15dB in 0.5dB steps. Setting an EQ cut/boost to 0dB effectively de-assigns the filter, allowing it to be
assigned to another channel.
EQ cut/boost on Output 5

OUT 5 High
Eq1M +/- -15.0dB

9.4 EQ Bandwidth 0.05 to 3.00 Octaves in 0.05 Octave steps. Width is only available for Bell type EQs. The limits of the width are
shown in Figure 14.
EQ width on Output 6

OUT 6 High
Eq1M W i d 0.30Oct

AMPL(dBu)vs FREQ(Hz)
10.000

5.0000

0.0

-5.000

-10.00

-15.00

-20.00

-25.00

-30.00
20 100 1k 10k 20k

Figure 14 Limits of EQ Width

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9.5 More than you probably want to know about filter/EQ assignment: The crossovers and EQs share DSP resources and there
are 2 filter resource 'buckets' (one in each 56004 DSP chip.) All of the filters for EQs and crossovers come from these
resources and have certain constraints that are followed in assignment. The table below summarizes how the resources are
allocated.

DSP # Total Filters Output 1& 2 Output 3-6 Input EQ Output 1&2 Outputs 3-6
Crossovers Crossovers EQ EQ*
DSP1 18 All None All All Second
DSP2 20 None All None None First
* The EQ for outputs 3-6 may come from either DSP 1 or DSP 2, but DSP 2 filters are used first (unless all DSP 2 resources
are allocated.)

• There are 18 filters in DSP 1, and 20 in DSP 2.

• All of the crossover filters for outputs 1 & 2 comes from DSP 1.
• All of the crossover filters for outputs 3-6 come from DSP 2.
• All of the Input EQ comes from DSP 1.
• All of the Output EQ for outputs 1 & 2 come from DSP 1.
• 12dB/Octave and 24dB/Octave crossovers use 2 filters per edge.
• 48dB/Octave crossovers use 4 filters per edge.

A Stereo 3-way 12dB/octave crossover is as follows:

• 4 filters are used in DSP 1 for output 1 & 2 crossovers high edge crossovers. (2 per 12dB/Octave Slope)
• 12 filters used in DSP 2 for output 3-6 crossovers. (1 per 12dB/Octave Slope)
• There is a total of (18-4)= 14 filters left in DSP 1 for either Input EQ or Outputs 1 & 2 EQ.
• There is a total of (20-12)= 8 filters left in DSP 2 for output EQ any output.

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10.0 Store , Recall and Security

Pressing Store/Enter will enter the Store screen with the last used program on the screen. Pressing Access at any time will
return to the Default screen. Pressing Store/Enter will perform the Store if the program location is not locked.

Store screen

STORE?
21 FORUM

10.1 Program Naming: The Next and Last allow the user to step through the character positions of the program name. The Plus and
Minus keys adjust the individual character through numbers and the alphabet.
10.1.1 The cursor starts on the program number; Plus and Minus will adjust the program number from 1 to 60. The
name and program locked character will follow giving the details of the selected program.
10.1.2 Pressing the Next access key will move the cursor into the program name to edit it. Plus and Minus will adjust
the selected character.
10.1.3 Pressing Next after the last character will move the cursor onto the program locked character. The Plus and
Minus keys will allow the user to adjust the locked character.

10.2 Program Storing: An internal store will fail if the lock key character is ON when Store/Enter is pressed. The PROGRAM
LOCKED message will stay on the screen for 3 to 4 seconds or until the user presses another key. If the user changes the
lock character to off with the Minus key then the Store will be successful. Alternatively, the user can press Access to return
to the Default screen.
Store has failed because program is locked.

PROGRAM LOCKED!
21 FORUM @

10.3 Program Locking: After Storing the program to memory, the user needs to select whether the program is stored locked. This can
be done by leaving the screen displayed with the cursor on the lock character. The character would default to On (programs
default to stored locked). The user may either press the Access to return to the default screen with the program locked or
press Store/Enter a third time after changing the lower line to Unlocked with the Plus and Minus keys. The Store Unlocked?
message will stay on the screen until a key is pressed. The Plus and Minus keys will change the Locked/Unlocked text.
Request lock or unlocked.

Store Unlocked?
Locked @

10.4 Program Recall: Pressing Recall will enter the Recall screen with the last used program on the screen.
Recall screen (The key indicates that the program is locked)

RECALL
31 MADISON @

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10.4.1 The Plus and Minus keys select the program to Recall.
10.4.2 Pressing Access at any time will return to the Default screen.
10.4.3 Pressing Recall a second time will recall the program.

10.5 Security Settings: There are two levels of security for the unit. These are used to protect the parameters or programs from being
inadvertently changed by unqualified users.
10.5.1 Lock Out in the Utilities area. With lock out ON, no variables can be adjusted except Lock Out and no
programs can be stored or recalled. This is the most basic security. Unless you know specifically to unlock the
unit in the Utilities page, the unit will remain free from prying hands.
10.5.2 OEM Lock in the Utilities area. OEM lock allows the user to lock any or all of the variables in a single program
from being seen or adjusted. These locks are stored with the program and are transferred as files are stored and
recalled.
OEM lock screen.

LOCK UTILITIES
OEM Lock Off

10.5.3 Pressing Plus from the Utility screen enters the OEM password screen. The user enters a password by using
the Next and Last keys to select the letters and the Plus and Minus keys to change the letters. Pressing
Store/Enter enters the OEM Lock mode. As an example, a password of “KONA” is shown below. Note: The
Factory default programs in locations 1, 2 and 3 come with no OEM password. These can be used to create your
own OEM programs.
OEM Password screen.

OEM PASSWORD
KONA____

10.5.4 Once in the OEM Lock set-up mode the user moves around the Input and Output screens as if selecting
variables to adjust. The utility screens are not accessible in Lock set-up, nor are the Store and Recall screens.
In the Lock set-up mode, the unit is always unlinked i.e. variables have to be locked/unlocked individually, they
cannot be locked in stereo pairs. The user can see the variable names and values if they are not locked. If the
variable is unlocked, the current value is displayed. If the variable is locked the value is replaced with a key. The
type of Lock Set-up - OEM - is indicated at the top right of the screen. The edited symbol is not displayed in the
Lock set-up mode.
10.5.5 Variables are locked and unlocked with the Plus and Minus keys.
Polarity on Output 5 - OEM unlocked - selecting variables for OEM lock

OUT 5 High OEM

Polarity
Polarity on Output 3 - OEM locked - User still in OEM Mode

OUT 3 Hi Mid
Polarity 3

The Lock set-up process is finished with the Store/Enter key. The unit now comes back to the password screen
with the current password on the screen. The user can change the password by using the Next and Last keys to
select the letters and the Plus and Minus keys to change the letters. Below the password “KONA” has been
changed to “KIZ.” Pressing Store/Enter stores the new password and returns the user to the Utility menu.
OEM Password change screen.

NEW PASSWORD?

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KIZ_____

10.5.6 Once the user has left OEM mode, the unit will not display any OEM locked variables. If the user steps on to an
OEM locked variable the display will jump to the next unlocked variable. If all variables in a channel are OEM
locked the display will jump to the next channel.
10.5.7 If the unit is powered down while in OEM mode, the unit will return to OEM locked when the unit is turned back
on with the current password still valid.
10.5.8 An OEM Locked program has a small padlock icon next to the program name when you scroll through using the
Store and Recall Functions.

RECALL
31 MADISON ¢

Note: You cannot store a new program in an OEM locked location. You must delete the OEM locked program first
using the Delete Program option in the Utility menu.

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11.0 Techniques, Tricks and Traps

When developing a product such as the DSC260, you must balance how much flexibility is designed in versus the
inevitable traps that might occur by having complete control over each outputs capability. The following section was
designed to give the user a bit of a head start when delving deeper into programming the unit.
11.1 Use Both Hands: When programming the unit it might be helpful to use a two hand technique. Using the right hand for navigation
around the programming grid and the left hand for adjusting the parameters. It helps remind the user that the right keys are
for navigation and the left are for changing parameters.
11.2 Oh, Where has my output gone? If you have a signal source assigned to an output, but do not have any output, check that the
Low Pass Filter Frequency parameter has not been set to “Off”. If this has been adjusted upward beyond 16kHz, it will turn
the output off.
11.3 Delays in 1, 2, 3 Steps: When using Delay Linking, it is recommended that the adjustment order is: 1. Transducer alignment within
cabinets; 2. Cabinet alignment within Clusters; 3. Delay Alignment between Clusters. In 2 channel x 3 Way and 3 channel x
2 way, the default settings include delay linking as well as stereo linking. See section 5 for additional information.
11.4 Why do both Input Clip LEDs light without a +20dBu input: Situations can occur when both Input Clip LEDs light. If this
occurs without full input signal, then this signifies a clip within the digital signal path. This normally occurs if excessive EQ
boost or gain has been programmed into one or more outputs.
11.5 I’m trying to adjust a crossover or EQ frequency but it won’t go as high or as low as I want. Check for any stereo linked
parameters that might contain an offset. If there is an offset between a stereo linked variable and the linked variable is at its
limit, then the parameter you are adjusting will not go any further. You can check this by turning Stereo Linking Off and
looking at the parameters in question. As an example, you could have a stereo EQ variable that is linked with a 5kHz offset so
that output 5 is at 10kHz and Output 6 is at 15kHz. If you try and adjust the EQ on output 5 upward, it will only go to 11kHz,
not all the way to 16kHz. This is because as you adjust output 5 upward, output 6 also goes upward to a maximum of 16kHz.
11.6 I can’t get the delay to go to it’s maximum of 635 ms. As with example 11.5 above, linked parameters can cause confusion
when they are linked with offsets. If a linked delay is at its maximum, trying to adjust another linked delay will stop at a value
of 635ms minus the amount of the offset. As an example, you have a delay link between output 3 (100ms) and output 5
(200ms). If you try and adjust output 3 upward you will be able to get a maximum of 535ms. (635ms - 100ms = 535ms)
11.7 I don’t have any linked delays, but I can’t get the maximum 630ms on an input or output. The maximum delay is a
combination of the amount of delay assigned at the input section plus the amount assigned at the output section. The
maximum combined delay from input to output is 635 ms.
11.8 “Warning, No More Filters” Even with the flexibility and full feature set of the DSC260, you could run out of DSP power at some
stage. While the engineers and designers of this product have tried to squeeze out every last bit of power, in some cases you
might see the dreaded “Warning, No More Filters?” message. This indicates that there are no more filter sections available in
the DSPs. This can occur when trying to add more EQ, adding a crossover slope or increasing a crossover slope. This
message is most likely to occur when using 48dB/Octave slopes that eat up DSP power quickly. Check below for more
information.
11.9 The DSC260 has a Split Personality. There are two DSPs in the DSC260. Crossover and EQ filter assignments are split between
them. It is possible to use up all available EQ on the inputs and outputs 1 & 2 and still have EQ available on Outputs 3-6. For
people who like clever number puzzles, section 9.5 details these guidelines. For the rest of us, there is almost always enough
EQ to go around.

11.10 Start with the Bass: Because of the way DSP is allocated, it is recommended that the programming sequence is as follows:

Assignment Parameters Reasoning

Order

1 Output Crossovers 1 & 2 Use these for Low Frequency Outputs. They generally need the least amount
of EQ and lower order crossover slopes. All EQ for outputs 1 & 2 and Inputs
comes from DSP 1 only. Using less power hungry crossover slopes typical of
low frequency crossovers frees up EQ for Outputs 1 & 2 and inputs.

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2 Output Crossovers 3-6 Use these for mid and high crossover outputs, because outputs 3-6 can use
EQ power from both DSPs. These outputs are typically of higher slope and
can require more EQ.

3 Output 1 & 2 EQ As with the Output Crossovers, EQ on outputs 1 & 2 can only come from DSP
1.

4 Output 3-6 By getting the outputs of 3-6 EQ’ed correctly, there will be little need for Input
EQ.

5 Input EQ For touch up and taste with what’s left. If there is no more Input EQ available,
adjustment of individual band EQ must be used or EQ must be “de-assigned”
from outputs 1-2 to free up EQ for the inputs. Freeing up EQ on outputs 3-6
will not free up resources for input EQ because the filters come from different
DSPs.

Table 3 Filter Assignment Recommendations

11.11 I’ve done it your way but I need more EQ on Inputs or Outputs 1 & 2: If you have maxed out EQ on the Inputs and Outputs 1
& 2, but have spare filters in outputs 3-6, you need to get more power to the inputs. De-assign Output 1 & 2 EQ and put the
power into Input EQ. After you have the Input EQ assigned, go back and assign your Output 1 & 2 EQ. This time, the
Output 1 & 2 EQ will be taken from other resources.

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12.0 Specifications
Inputs: 2 channels, Maximum level +20dBu, 10kW imp., Pin 2 +
Electronically Balanced
Outputs: 6 channels, Maximum level +10dBu, into 600 W imp., Pin 2 +
Electronically Balanced
Output Impedance: 47 W
Dynamic Range: >100 dB
Frequency Response: 20Hz - 20kHz <+/- 0.5dB
Total Harmonic Distortion: <0.05%, 20 Hz - 20 kHz, @+10dBu
Configuration: Stereo 2 way and 3 way, Mono 4, 5, 6 way, Any combination of 2 inputs to six outputs with
individual passbands.
Crossover Slopes: Butterworth 12, 18, 24 or 48dB/Octave and Linkwitz-Riley 12, 24 or 48dB/Octave.
Front Panel Controls: Softkeys for programming functions. Mute on each output and LED level meters with limit,
-3, -6 and -20dB below threshold. Input LED meters with signal present, -12, -6 and
-3dB and Clip.
Display: 2 x 16 Character Backlit LCD
Limiters: Mid Band Limiters with variable threshold of -10 to +10dBu
Power Requirements: 100 - 240 Volts 50/60 Hz +/- 10%
Sample Rate: 48 kHz
A/D Conversion:
Assignable Equalization: An array of up to 38 bands of EQ can be assigned to the inputs and outputs. Dependent
upon slopes of crossovers used. High and Low shelving at 6dB or 12dB/Octave or
fully parametric with a variable bandwidth of 0.05 to 3.0 octaves. Frequency range
from 15Hz to 16kHz. Amplitude of +/- 15dB in 0.5 dB steps.
Assignable Delay: Up to 635 ms of delay on each input to output path including Input A, Input B, Input A + B
Sum and Outputs 1-6.
Latency: 1.2 ms, any input to any output.
Delay Resolution: 21 ms steps
Memory: 60 User Programs stored in Flash Memory
Dimensions: 44.4mm x 483mm x 203mm HxWxD (1.75” x 19” x 8”)
Net Weight: 2.8 kg (6.2 lbs)
Shipping Weight: 4.5 kg (9.9 lbs)
Safety Agency Approvals: CE, ETL

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Appendix A : Connector Wiring Information

Balanced wiring: Whether as system is wired to a ‘pin 3 hot’ convention is not so important so long as the wiring to both the
input and output are the same. Input cable shield needs to be derived from the signal source end as pin 1 is ground lifted for
the inputs. It is recommended that high quality audio cable with two conductors and a shield for low noise be used.
Unbalanced wiring: If the equipment driving the DSC260 has only unbalanced outputs then the input plug to the DSC260
should be wired so that the shield connection on pin 1 is shorted to EITHER pin 2 OR pin 3, depending on the wiring
convention of the unbalanced equipment at the send end.
If the equipment connected to the DSC260 outputs has only unbalanced inputs, we recommend the use of balanced (i.e. 2-
connector shielded) cable. The interconnecting cable should have the shield grounded to pin 1 at the DSC260 output, the
output “cold” should be connected to the unbalanced input 0 V ground, and the output “hot” should be connected to the
unbalanced live input. There should be no connection between the cable screen and the 0 V/chassis ground connection of
the unbalanced equipment. Strict adherence to this will help to eliminate potential ground loop hums by removing signal
currents from the cable shield.
Following the wiring conventions noted above within a fully balanced signal system will yield the best possible results with
none of the problems often associated with interconnected audio equipment. Wherever possible, the cable shield should not
be connected to any signal pin, but rather left to perform a cable shielding function only.
Under no circumstances should safety ground wire be removed from the AC power connector as an interim measure to
achieve similar results.
Avoiding ground loops: A typical example of a ground loop situation is shown in the diagram below. Two interconnected
components of a system are grounded through their individual AC power ground connections to separate AC power outlets.
In this situation a path to ground exists both directly through the mains earth of each component and also via the shield in the
signal wire to the AC power ground connection of the other component. In effect the two paths to ground form a loop antenna
which picks up interference currents from surrounding equipment. Because of lead resistance these induced currents are
transformed into voltage fluctuations in the ground system and hence the reference ground is no longer at a stable potential.
Various connection configurations are possible to prevent ground loops occurring. The aim is always to ensure that a loop
path is never actually formed. It can be seen from the diagram above that this could, in theory, be achieved by disconnecting
the AC power ground connection, however this practice is totally unsafe and should never be implemented as it could produce
a potentially lethal voltage at the case or accessible parts of the unit.
The most flexible solution, and easiest to implement in touring system, is to use the practice of telescoping shields. This
method is highly effective in removing ground loops and prevents unwanted signals entering the signal chain as the shield is
always connected to ground at only one point. The DSC260 is designed with the input ground connections isolated so that a
ground loop will not occur between the DSC260 and the preceding source component as shown below.

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Appendix B : Output Assignment Matrix for JBL Systems

System Out 1 Out 2 Out 3 Out 4 Out 5 Out 6

2 Channel 2 Way Stereo Unused Unused Low A Low B High A High B

2 Channel 3 Way Stereo Low A Low B Mid A Mid B High A High B

Mono 6 Band Full A Full A Full A Full A Full A Full A

3 Channel 2 Way Config. Low A Low A+B Low B High A High A +B High B

4890, 4891, 4892, 4894, Unused Unused Low A Low B High A High B
DMS-1

4892+Subs, 4894+Subs, Subs A Subs B Low A Low B High A High B

S201, S202, S203, S204,
S205, S206, S210

HLA 4895, AS32XX Stereo 3 Lo/Mid A Lo/Mid B Hi/Mid A Hi/Mid B High A High B
Way

HLA Mono 4 Way, AS32XX 4 Unused Unused Subs A Lo/Mid A Mid/MidA High A
Way

567X, 219X Low A Low B Mid A Mid B High A High B

1.Before making any connections between the controller and the amplifiers, make sure that all power to the amplifiers is
disconnected and their level controls are completely down.
2.The DSC260 has been programmed for many popular JBL Speaker System models. Before connecting the controller
to the amplifiers, this program should be changed to a setting that matches your JBL system.
3.This is done by powering on the DSC260 then pressing RECALL. Use the Parameter Plus and Minus buttons located
on the left side of the LCD panel to page up and down until the correct setting is visible. Press RECALL after the
cursor is on the setting.
4.Connect the console outputs to the inputs of the DSC260. Left to A and Right to B. In the case of a mono system, use
input A.
5.Connect the outputs of the controller to the amplifier input channels maintaining the Left and Right identification.
Typically the higher the number of the output, the higher the frequency content. i.e. In a 2 channel 3 way default,
outputs 1 & 2 are Low, 3 & 4 are Mid and 5 & 6 are high. As the outputs vary depending upon the type of system
and program loaded into theDSC260, consult Appendix B for correct output information.
6.Turn on the power to the console, controller(s) and finally the amplifiers. (It is best to turn the amplifiers on last and off
first to prevent any thumps or pops from damaging the transducers.)
7.Apply a signal source to the controller. This can be pink noise, a tone or music.
8.Unmute the outputs on the DSC260, one at a time. The RED LEDs below each Output Meter signify the output is
muted.
9.Advance each amplifier channel slowly and confirm that the signal reaching the transducers is correct. (It is best to
begin with channels driving the low frequency transducers first. In this way, if the high and low are reversed, high
frequency signals will be going to the woofer. It’s better to find this problem then if the low frequencies were going to
the high frequency device!)
After it is confirmed that all transducers are receiving the proper signals, initial calibration can begin.

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Limiter Settings for Power Levels into 4 ohms per channel

Power Amp 75 w 150 w 200 w 300 w 500 w 600 w 800 w 1200 w 2400 w
MPA 275 -4 dBu -1 dBu 0 dBu
MPA 400 -6 dBu -3 dBu -2 dBu 0 dBu
MPA 600 -8 dBu -5 dBu -4 dBu -2 dBu 0 dBu 1 dBu
MPA 750 -9 dBu -6 dBu -5 dBu -3 dBu -1 dBu 0 dBu
MPA 1100 -11 dBu -8 dBu -7 dBu -5 dBu -3 dBu -2 dBu -1 dBu 1 dBu

MPX 300 -4 dBu -1 dBu 0 dBu 2 dBu

MPX 600 -8 dBu -5 dBu -4 dBu -2 dBu 0 dBu 1 dBu
MPX 1200 -11 dBu -8 dBu -7 dBu -5 dBu -3 dBu -2 dBu -1 dBu 1 dBu
Limiter Settings for Power Levels into 8 ohms per channel
Power Amp 75 w 150 w 200 w 300 w 500 w 600 w 800 w 1200 w 2400 w
MPA 275 -4 dBu 2 dBu
MPA 400 -3 dBu 0 dBu 1 dBu
MPA 600 -5 dBu -2 dBu -1 dBu 1 dBu
MPA 750 -6 dBu -3 dBu -2 dBu 0 dBu 2 dBu
MPA 1100 -8 dBu -5 dBu -4 dBu -2 dBu 0 dBu 1 dBu 2 dBu

MPX 300 -1 dBu 2 dBu

MPX 600 -5 dBu -2 dBu -1 dBu 1 dBu 3 dBu
MPX 1200 -8 dBu -5 dBu -4 dBu -2 dBu 0 dBu 1 dBu 2 dBu

Bridge Mode Limiter Settings for Power Levels into 8 ohms

Power Amp 75 w 150 w 200 w 300 w 500 w 600 w 800 w 1200 w 2400 w
MPA 275 -7 dBu -4 dBu -3 dBu -1 dBu 1 dBu
MPA 400 -9 dBu -6 dBu -5 dBu -3 dBu -1 dBu 0 dBu 1 dBu
MPA 600 -11 dBu -8 dBu -7 dBu -5 dBu -3 dBu -2 dBu -1 dBu 1 dBu
MPA 750 -12 dBu -9 dBu -8 dBu -6 dBu -4 dBu -3 dBu -2 dBu 0 dBu
MPA 1100 -14 dBu -11 dBu -10 dBu -8 dBu -6 dBu -5 dBu -4 dBu -2 dBu 1 dBu

MPX 300 -7 dBu -4 dBu -3 dBu -1 dBu 1 dBu 2 dBu

MPX 600 -11 dBu -8 dBu -7 dBu -5 dBu -3 dBu -2 dBu -1 dBu 1 dBu
MPX 1200 -14 dBu -11 dBu -10 dBu -8 dBu -6 dBu -5 dBu -4 dBu -2 dBu 1 dBu

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Appendix C: Midi Implementation

FUNCTION TRANSMITTED RECOGNIZED REMARKS

BASIC CHANNEL Default 1-16 1-16 Memorized

Changed 1-16 1-16

MODE X X

NOTE NUMBER X X

VELOCITY X X

AFTER TOUCH X X

PITCH BENDER X X

PROGRAM CHANGE 0-59 0-59

True Number 1-60 1-60

SYSTEM EXCLUSIVE
Dump Request X O
Dump Follows O O
Program Request X O
Program Follows O O

SYSTEM COMMON X X

SYSTEM REAL TIME X X

AUX MESSAGES X X

O: Yes X: No

DSC-260 Midi Sysex Format

The dump is sent as a series of system exclusive messages. The first message is a request to overwrite the memory of
the DSC260.
Overwrite Memory Request

System exclusive status F0H Sysex Message Starts

Manufacturer ID 00H 20H 18H

Basic Channel nnH 0-15, or 7FH for all channels

Message Follows 06H

Message -Request Overwrite 03H

End of System Exclusive F7H

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The second message is “Incoming dump, delete all programs?” If the Overwrite Memory Request is not accepted on the
receiving unit, this message will be ignored. The DSC260 deletes all programs from 1 up to 60 at this point, if the plug is
pulled after this message, you can’t get them back!
Delete All Request

System exclusive status F0H Sysex Message Starts

Manufacturer ID 00H 20H 18H

Basic Channel nnH 0-15, or 7FH for all channels

Message Follows 06H

Message -Delete all, dump follows 0FH

End of System Exclusive F7H

The next message is the “system data”such as delay units, etc. Although the whole system structure is sent, only the
delay units are implanted as all the rest are the user’s choices, lock mode, midi channel etc. Bytes are sent with the low 4
bits (nybble) followed by the top nybble. So Hex 0x74 is sent as 0x04 followed by 0x07. All values that follow are hex
unless otherwise stated. Multiple byte values are sent with the highest byte first and the bytes split low nybble then high
nybble.
System Dump Request

System exclusive status F0H Sysex Message Starts

Manufacturer ID 00H 20H 18H

Basic Channel nnH 0-15, or 7FH for all channels

DSC260 System follows 1CH

Size of message 03H Number of bytes divided by 32.

Program Number 00H Not used in this case.

Dump Data (96 bytes) ddH

End of System Exclusive F7H

Programs must be sent with the highest program numbers first. The DSC260 expects the last program to be program 0
(the 'current' program). This is the data that is actually in use at the time and may not have been stored in one of the 60
programs. Reception of the Delete All message (above) puts the unit into a 'sleep mode'. Reception of program 0 is the
signal for the unit to return to normal speed. Sleep mode while a dump is coming in is to ensure that all bytes are handled
and that the flash erasing and programming can get the full time of the processor. If program 0 is not received the unit's
sleep mode will time out after about 20 seconds but during this period of the dump, the keys and display will not appear
to be working. At the end of the time-out a message is displayed. If the unit is turned off during this time no data will be
lost as data is written as each program is received.

A single program dump can be sent at any time but be aware that sending a large number of new programs in quick
succession while the unit is running at normal speed may cause midi bytes to be lost as there is not enough buffer space
for full speed midi data during the one or two seconds it takes to erase a flash page.

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Program Dump Message

System exclusive status F0H Sysex Message Starts

Manufacturer ID 00H 20H 18H

Basic Channel nnH 0-15, or 7FH for all channels

DSC260 System follows 1CH

Size of message 18H Number of bytes divided by 32.

Program Number ppH

Dump Data (426 -778 bytes) ddH Pairs of 4-bit nybbles, LS first. Size
dependent upon EQ assignments.

End of System Exclusive F7H

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Appendix D: User Program Templates

Speaker System: Date:
Parameter Input A Input B Input A + B
Input Delay
Input EQ1 Type
Input EQ1 Frequency
Input EQ1 +/-
Input EQ1 Bandwidth
Input EQ2 Type
Input EQ2 Frequency
Input EQ2 +/-
Input EQ2 Bandwidth
Input EQ3 Type
Input EQ3 Frequency
Input EQ3 +/-
Input EQ3 Bandwidth
Input EQ4 Type
Input EQ4 Frequency
Input EQ4 +/-
Input EQ4 Bandwidth

Parameter Output 1 Output 2 Output 3 Output 4 Output 5 Output 6

Output Name
Output Source
Output Gain
Output Limit
Output Delay
Output Delay Link
Polarity
Output Lo Shape
Output Lo Frequency
Output Hi Shape
Output Hi Frequency
Output EQ1 Type
Output EQ1 Frequency
Output EQ1 +/-
Output EQ1 Bandwidth
Output EQ2 Type
Output EQ2 Frequency
Output EQ2 +/-
Output EQ2 Bandwidth
Output EQ3Type
Output EQ3 Frequency
Output EQ3 +/-
Output EQ3 Bandwidth
Output EQ4 Type
Output EQ4 Frequency
Output EQ4 +/-
Output EQ4 Bandwidth

Speaker System: Date:

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Parameter Input A Input B Input A + B

Input Delay
Input EQ1 Type
Input EQ1 Frequency
Input EQ1 +/-
Input EQ1 Bandwidth
Input EQ2 Type
Input EQ2 Frequency
Input EQ2 +/-
Input EQ2 Bandwidth
Input EQ3 Type
Input EQ3 Frequency
Input EQ3 +/-
Input EQ3 Bandwidth
Input EQ4 Type
Input EQ4 Frequency
Input EQ4 +/-
Input EQ4 Bandwidth

Parameter Output 1 Output 2 Output 3 Output 4 Output 5 Output 6

Output Name
Output Source
Output Gain
Output Limit
Output Delay
Output Delay Link
Polarity
Output Lo Shape
Output Lo Frequency
Output Hi Shape
Output Hi Frequency
Output EQ1 Type
Output EQ1 Frequency
Output EQ1 +/-
Output EQ1 Bandwidth
Output EQ2 Type
Output EQ2 Frequency
Output EQ2 +/-
Output EQ2 Bandwidth
Output EQ3Type
Output EQ3 Frequency
Output EQ3 +/-
Output EQ3 Bandwidth
Output EQ4 Type
Output EQ4 Frequency
Output EQ4 +/-
Output EQ4 Bandwidth

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Speaker System: Date:

Parameter Input A Input B Input A + B
Input Delay
Input EQ1 Type
Input EQ1 Frequency
Input EQ1 +/-
Input EQ1 Bandwidth
Input EQ2 Type
Input EQ2 Frequency
Input EQ2 +/-
Input EQ2 Bandwidth
Input EQ3 Type
Input EQ3 Frequency
Input EQ3 +/-
Input EQ3 Bandwidth
Input EQ4 Type
Input EQ4 Frequency
Input EQ4 +/-
Input EQ4 Bandwidth

Parameter Output 1 Output 2 Output 3 Output 4 Output 5 Output 6

Output Name
Output Source
Output Gain
Output Limit
Output Delay
Output Delay Link
Polarity
Output Lo Shape
Output Lo Frequency
Output Hi Shape
Output Hi Frequency
Output EQ1 Type
Output EQ1 Frequency
Output EQ1 +/-
Output EQ1 Bandwidth
Output EQ2 Type
Output EQ2 Frequency
Output EQ2 +/-
Output EQ2 Bandwidth
Output EQ3Type
Output EQ3 Frequency
Output EQ3 +/-
Output EQ3 Bandwidth
Output EQ4 Type
Output EQ4 Frequency
Output EQ4 +/-
Output EQ4 Bandwidth

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