Sold it all and bought a used Yamaha 01v (for no extra money), which had parametric EQ/dynamics on every input channel, aux send and the main outputs.

I had at one point a Mackie 1642, 231, a 1046 and 2 166A compressors, Lexicon and Yamaha effects units, and 2 monster cases to carry it all. I'd say that a larger case to have more control would be worth it.ДЄnother completely different tack would be to look at your mixer. If you're looking for new cases, has very good quality cases at decent prices - they have held up well for me and are far above the OSP dreck on eBay (bought one and got rid of it that week - the OSP stuff is cheap for a reason).

Plus, a 231 can use one channel for mains in mono, and another for a monitor mix (or 2 monitor mixes). Its powerful processing includes both a linkable 28-band graphic and a 9-band parametric EQ, while system dynamics are controlled by the built-in. dbx markets it as the box that does everything well, when in reality, it does many things, but few of them well at all.Дriveracks are also not very good on monitors compared to a 31 band or even your 15 band for this reason. The dbx DriveRack 260 Loudspeaker Management System is a processor designed for complete system control of equalization, dynamics, and routing possibilities in live or contractor sound applications. This is the biggest reason why the Driverack isn't a good choice for many. If you have to notch a frequency in the middle of the show, grabbing a EQ slider is a lot faster way to deal with feedback, which can happen and is unpredictable. The other failure of the Driverack and its interface is ease of adjustment mid-show. If you can pink the room, you're usually doing it in an empty venue, which is not how it will be when you have people. The other thing is that there's no such EQ as set and forget with small rooms.

Dbx driverack 260 ebay