Have finally put new bit of kit through its paces properly this evening. In a deliberately selected environment (30% absorbent) I subjected the dbx to 3 main vocal mics (identical levels for 3 part harmony) and two acoustic guitars through a HK Lucas pa system.

Overall, a positive experience...setting to pink noise is an absolutely sound idea and with no members of the public or bar staff to worry about it is all good. Whether this procedure will be tolerated at a gig is to be seen...

The thing does exactly what it says on the box...limits, eqs and deals quite well with microphonic feedback (acoustic guitar feedback needs more investigation before conclusion).

There are for me, however, areas of uncertainty which will initiate a learning process:

1. Preselecting a frequency response and criticality of notch filter is guesswork (in the absence of experimentation).
2. The ratio of fixed to live notches is also a matter of experimentation.

But...you know what? I really LIKE it!!

This product does pretty much what it says on the tin. It's a doddle to set up - on-screen instructions are clear and the layout is logical and easy to grasp. I've used mine with a couple of different systems and I felt that sound quality had been improved significantly as compared to before I had this unit in the signal chain. Pinking the room is obviously necessary - how else could you accurately EQ as per room acoustics? - but if that's impossible, you could always just play music through it and adjust the EQ by ear, fiddly though that would be.

Personally, I keep the mixer EQ flat and use the Driverack exclusively for system EQ (I take a recording feed off the mixer & don't want to have to compensate for that later).

Criticisms - feedback suppressor isn't perfect (although it's very good), and Dolphin shipped this unit with a European plug (isn't that illegal here?).

I was a little sceptical with regards to how much difference this unit would make to my system but I need not have been concerned.
It matches up with my Eon15's and G2Sub's perfectly creating a much sweeter balanced sound than I was previously accustomed to.
The speaker selection presets perform well so if "pinking" the room is an issue you can normally opt for one of these, although to get the best from the Driverack you would want to do this.
All in all I would have to say this is a good product for the money,if you've spent a few quid on your active speakers then why not get the best performance from them possible.

I purchased this product a couple of weeks ago and have set it up 3 times, once for a gig.
It has several good points.
1. Easy to understand and inialize.
2. Has everything you need in the box.
3. Does what it's supposed to.

It also has a number of drawbacks:

1. You have to 'Pink' the room with noise at gig volume - this is not practical in a busy Pub; it doesn't go down well with either the management or the punters.

2. You have to ' pink' for system balance and EQ - See above!

3. You may have to move the microphone to get the EQ to work properly repeating the above - thus annoying the customers again!

4. The insturctions assume you know what you want and what you are doing; there is no help or suggestion concerning how you want the driverack to operate.
Is it best to go for a flat response and then use the mixer to put in the shape you want? I don't know and the instrucions are no help.

5. The AFS does work but it's works better if you set it up as described and then back off the mixer master faders a little.

I know this sounds like a lot of criticism, but it isn't meant to be; you just need to be aware of what your getting to get the best out of it. Would I recommend the Driverack PX - Yes.

This little unit is very much the swiss army knife of live engineers, who perform the delicate and sometimes stressful task of performing front of house & monitor tasks from the same board.

Utilising a total of 48 narrow notch filters split across 2 x 24 channels, it is the perfect recipe for killing feedback, and settling in the AFS 224 to your system could not be easier.

First of all, selecting the number of live & fixed filters is a breeze, and with a couple of button pushes, your ready to rock and roll. A starting point for instance, could be 12 live & 12 fixed (or floating) filters.

Run it inline on the stage foldback feeds, open the mics, open the auxes and watch the AFS 224 kill that 2.5kHz ring! The unit will work its way through all of the fixed filters that you have set, killing the feedback as it goes.

During show time, the floating filters take care of the nuisance feedback that can catch you unawares - but here's the ace in the pack - the floating filters can be timed to release themselves, so they become available for duty once more!

You can also control the Q (or bandwidth) of the filters (low, medium and high), for even more flawless and transparent control.

These units are like having another engineer in the booth, with his hands firmly on the controls of all of the affected graphic eq's!

Be aware, though, that this is not a 100% kill your feedback unit, and a certailn amount of experience and common sense prevails. If you are using all 24 filters in a fixed configuration, and are STILL getting feedback...it's time to hit the stage and move the mics & wedges (or tell the guitarist to turn down his backline!).

I bought two of these, and they have saved my sanity in some very difficult and challenging gigs.

Well tasty!