Digital Dynamics Processor

Operator Manual

WARNING

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
FOR YOUR PROTECTION, PLEASE READ THE FOLLOWING:
WATER AND MOISTURE: Appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc). Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. POWER SOURCES: The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance. GROUNDING OR POLARIZATION: Precautions should be taken so that the grounding or polarization means of an appliance is not defeated. POWER CORD PROTECTION: Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance. SERVICING: To reduce the risk of fire or electric shock, the user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel. FOR UNITS EQUIPPED WITH EXTERNALLY ACCESSIBLE FUSE RECEPTACLE: with same type and rating only. Replace fuse
A T T E N T I O N : RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR W A R N I N G : TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical products. The lightning flash with arrowpoint in an equilateral triangle means that there are dangerous voltages present within the unit. The exclamation point in an equilateral triangle indicates that it is necessary for the user to refer to the owners manual. These symbols warn that there are no user serviceable parts inside the unit. Do not open the unit. Do not attempt to service the unit yourself. Refer all servicing to qualified personnel. Opening the chassis for any reason will void the manufacturers warranty. Do not get the unit wet. If liquid is spilled on the unit, shut it off immediately and take it to a dealer for service. Disconnect the unit during storms to prevent damage.
MULTIPLE-INPUT VOLTAGE: This equipment may require the use of a different line cord, attachment plug, or both, depending on the available power source at installation. Connect this equipment only to the power source indicated on the equipment rear panel. To reduce the risk of fire or electric shock, refer servicing to qualified service personnel or equivalent.

U.K. MAINS PLUG WARNING

A moulded mains plug that has been cut off from the cord is unsafe. Discard the mains plug at a suitable disposal facility. NEVER UNDER ANY CIRCUMSTANCES SHOULD YOU INSERT A DAMAGED OR CUT MAINS PLUG INTO A 13 AMP POWER SOCKET. Do not use the mains plug without the fuse cover in place. Replacement fuse covers can be obtained from your local retailer. Replacement fuses are 13 amps and MUST be ASTA approved to BS1362.
ELECTROMAGNETIC COMPATIBILITY
This unit conforms to the Product Specifications noted on the Declaration of Conformity. Operation is subject to the following two conditions: this device may not cause harmful interference, and this device must accept any interference received, including interference that may cause undesired operation. Operation of this unit within significant electromagnetic fields should be avoided. use only shielded interconnecting cables.

SAFETY INSTRUCTIONS

NOTICE FOR CUSTOMERS IF YOUR UNIT IS EQUIPPED WITH A POWER CORD. WARNING: THIS APPLIANCE MUST BE EARTHED. The cores in the mains lead are coloured in accordance with the following code: GREEN and YELLOW - Earth BLUE - Neutral BROWN - Live
DECLARATION OF CONFORMITY
Manufacturers Name: Manufacturers Address: declares that the product: dbx DDP conforms to the following Product Specifications: Safety: EN 60065 (1993) IEC65 (1985) with Amendments 1, 2, 3 EN 55013 (1990) EN 55020 (1991) dbx Professional Products 8760 S. Sandy Parkway Sandy, Utah 84070, USA
As colours of the cores in the mains lead of this appliance may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The core which is coloured green and yellow must be connected to the terminal in the plug marked with the letter E, or with the earth symbol, or coloured green, or green and yellow. The core which is coloured blue must be connected to the terminal marked N or coloured black. The core which is coloured brown must be connected to the terminal marked L or coloured red. This equipment may require the use of a different line cord, attachment plug, or both, depending on the available power source at installation. If the attachment plug needs to be changed, refer servicing to qualified service personnel who should refer to the table below. The green/yellow wire shall be connected directly to the unit's chassis.

Rear Panel

18 WATTS

AES/EBU

AES/EBU IN

CHANNEL TWO

OUTPUTS INPUTS

CHANNEL ONE

PROFESSIONAL PRODUCTS
A HARMAN INTERNATIONAL COMPANY SALT LAKE CITY, UTAH MADE IN USA MODEL DDP DIGITAL DYNAMICS PROCESSOR
OUT INPUT OUTPUT S/PDIF OUT/THRU IN

100V 50/60Hz 120V 60Hz

IEC Power Cord Receptacle IEC Power Cord Receptacle. Digital I/O (Optional) The optional Digital I/O card provides digital input and output capabilities in either AES/EBU or S/PDIF formats at 24bit word lengths. MIDI In and Out/Thru Connectors These connectors provide full MIDI functionality to the DDP. The Out/Thru jack allows you to use the DDP at any point in the MIDI chain. All automation functions are accessed through the MIDI connectors. Analog Inputs and Outputs Each analog channel features both XLR and 1/4 TRS electronically balanced inputs and outputs. They may be used in a balanced or unbalanced configuration. To use unbalanced signal, use a 1/4 TS jack, or ground pin 3 of the XLR cable.

Signal Flow

The following simple illustrations show how audio signal flows through the DDP, and how the LCD display works. They will help you to understand where the DDPs metering points are located, as well as identify the various elements of the LCD display.
digital input control digital input analog input meter analog input A /D Convertor digital input meter gain digital reduction output meter meter analog output meter analog output digital output
Dynamics Processor DSP (Software - based) Operations

Bypass

D/A Convertor

analog input control

Figure 1: DDP Signal Flow

analog output control

Digital input / output meters (peak and average)
Chain number Program within program Chain element number stereo link indicator identifier Compression curve graph
3 parameters per "page"
Figure 2: DDP LCD display
Parameter Gain Reduction meter measurement units Parameter Digital page number conversion indicator

SOFTWARE

All Linked Programs are made from. a Linked setup All Mono Programs are made from. two Mono setups
The DDP software works on a building-block philosophy. Every program number consists of a processing setup which is built from processing elements that make up a chain. The chain elements may be used in different combinations to produce a desired effect. Once the desired effect is reached, you may rename and save the setup to a user library area. The setups chain may consist of any or all of the following: gating effects, compression effects, limiting effects, parametric EQ, sidechain parametric EQ effects, and/or de-essing effects. There are several preset mono and linked setups. For a complete listing of the setups in the DDP, see section 6. Processing setups are linked together using True RMS Power Summing (see section 8) for superior stereo operation, or two separate setups may be used in dual mono mode. Each element of the chain has a full complement of parameters that can be manipulated very precisely via the Function buttons and the Data Wheel. The following figure shows the hierarchal building block system used in the DDP.

Figure 9: Display showing elements of each setup in a dual mono program.
2. Press the CH 1 or CH 2 button, (depending on which setup you want to look at) while the program buttons light is on. This method only lets you see the setup for one channel at a time. The contents of the setup, or the setups chain, will be displayed in the third line of text. As you do this, the program LED will go off, and the LED on the button you pressed will light, indicating that you are now looking at channel ones (or twos) setup. In addition to this telemetry, there will be text which says USER setup or FACTORY Setup in the curve window on the far right side of the display. By turning the Data Wheel, you can scroll through them. You will notice the various factory setups as well as all your user setups. You can store up to 100 linked setups, and 100 mono setups. As you do more projects with your DDP, you will begin to gather all types of setups that you have designed and saved for yourself. You are now in setup mode. Using the Data Wheel, scroll through the available setups for the program you have chosen. You will see the 3 linked chain types if you are in a linked program number, or you will see the 6 chains for mono setups if you are in a dual mono program number.
To get out of setup mode and back to program mode, simply touch the program button. The LED associated with the Channel button will turn off and the Program button LED will turn on.

CH 1 Button

NEXT PAGE CH 1 SELECT LOAD DE-ESSER SIDECHAIN / EQ UTILITY EXP / GATE COMPRESSOR LIMITER

CH 2 Button

PREV PAGE CH 2
PROGRAM Button Figure 10: Function buttons and LCD display in chain mode.
While in program mode, you may scroll through the different factory designed programs by simply turning the Data Wheel. By default, the DDP is shipped with the AutoLoad feature activated. This means that the program number displayed on the screen is the one which is active, scrolling though the programs cancels any changes you made to the program you last edited. (See Section 4 for details on editing and storing programs and chains, and Section 5 for more information on AutoLoad and other utility features) In AutoLoad mode, its best to scroll through programs while in Bypass mode. Enter Bypass mode by pressing the Bypass button. Its LED will light indicating that the DDP is in Bypass mode.

Setup mode in dual mono

From Program Mode (press the Program button), you can enter setup mode by pressing either the CH 1 button or the CH 2 button. Notice that when you do, several things happen on the screen: 1. The reversed-text channel number (either 1 or 2) to the right of the program number will light, indicating the active channel. The other number will go out. (If you are working with a linked setup, both the 1 and 2 will light, as well as the word link between the two numbers.)
Setup mode in linked mode
2. The first line of text says. Ch 1 Setup. The second line of text indicates the setups title. 3. The third line of text shows the elements of the setups chain in their proper order. 4. The curve window shows text reading FACTORY setup, or USER setup. 5. Using the Data Wheel, scroll through the available setups. You should recognize these from the previous pages. The chain that is displayed in the window is the one that is active. All the DDPs factory setup names are listed in Appendix #1, page 24.
Viewing Elements of a Chain Individual elements of every setup chain may be viewed and their parameters manipulated. We have provided you with a full slate of parameters for each element. They are described in section 4.
Linked Programs Select a linked program. If you want to edit the parameters of a linked setup, simply press the function button that corresponds to the element you want to edit. For example, if you wish to edit the parameters of the compressor, just press the compressor button. It will light up, as will the compressor icon to the right of the program number on the DDPs display, indicating that you are ready to edit the parameters of the compressor. As you do so, the STORE button will light indicating that you have made changes to the parameters and must store them in order for them to be saved for later use. Dual-Mono Programs Using a dual mono program number, (one without the LINK icon lit between the CH1 and CH2 icons) select the element you wish to edit by simply pressing the corresponding function button, like the Compressor button, for example. Note that as you do, the icon corresponding to the element lights up beside the program number, the function button lights up, and the top line of text shows the element being edited. Also note that either the CH1 or CH2 icon is lit. It lets you know which channels compressor you are editing, for example. To edit the other channels compressor, simply press the Compressor button again. Everything stays the same except for the CH1 icon has turned off and the CH2 is lit. You can switch between channels in this way from any chain element. If the CH1 and CH2 setups are different from each other, trying to switch to an element not present in the other setup will result in nothing happening at all. You will remain in the channel that contains the element you selected.

Section 4: Editing / Saving / Recalling Programs

THE STORE BUTTON

Whenever a parameter has been changed, the Store button will light, prompting you that there have been changes made to the setup. If you want to keep the changes, you must store the new setup. You may choose to rename and save the setup in the setup library. Or you may choose to abandon your changes when you leave the program for another one. Refer to the end of this section on page 20 for complete instructions for saving setups.

MOVING AROUND

Since there are only three parameters viewed at any one time it is necessary to have multiple pages of parameters. The gate has three pages of parameters. For example, on the first page of the gate section there is: Gate ON /OFF, Threshold, and Ratio. The next page can be seen by pressing the NEXT PAGE / PREV PAGE buttons. The number of the current page is shown to the right of the program number and under the chain identifying numbers in reversed-text. The parameters on page 2 are: Attack, Hold and Release. The third and last page has Transient Capture Mode On / Off, and TCM Time. For a full explanation of Transient Capture Mode, see Section 6. The SELECT button moves the cursor between the three lines of parameters on each page, and the DATA wheel changes the parameter that is selected. Note that in order for any changes to be heard, the element must first be in the on position.

EDITING GATES

Parameters of the Gate The parameters included on the DDP for gating operations are as follows:
threshold knee gate ratio
Figure 14: Gate parameters and curve
Off/on: This is a bypass for the gate section. Turning it to off deactivates the minus (-) section of the threshold meter, and the plus (+) sign is darkened, indicating that the gate is passing signal through, regardless of the other gate settings. Threshold range from -75dB to 0dB: The threshold range goes from -75dB to 0dB. With the threshold set towards -75dB, it takes less signal level to open the gate. A setting closer to 0dB requires more amplitude or level to open the gate. As you move the threshold around, notice the behavior of the curve window. The knee of the threshold moves up and down according to your setting. Moving the threshold up means it takes a louder signal to exceed the threshold. Ratio from 1:1 to 1:: The gate ratio sets the amount of gain reduction. (With a lower ratio setting, the gain reduction is lower than a higher ratio.) For mild gating effects, or downward expansion, set the ratio around 1:2, or for more extreme effects set it to 1:. For example, a setting of 1:2 means that for every 1dB that the signal is below the threshold (say, 4, for example), the gate imposes 2dB of gain reduction on the signal (for a total of 8dB in this example). As you move the ratio control around, notice the action of the curve in the curve window.

EDITING COMPRESSORS

Figure 15: Compressor parameters and curve
Attack control from 0.1ms to 200ms: As the signal reaches the threshold area, the Attack control sets the speed at which the gate opens. Use very fast attack times to catch the fronts of transient signals. Hold from 0ms to 500ms: The Hold control sets the amount of time the gate is held open after the signal passes below the threshold point. Release from 360dB/sec to 5dB/sec: Release sets the speed at which the gate closes when the end of the Hold time is reached. TCM Off/on: Transient Capture Mode is the method by which the gate is able to catch the very beginnings of fast transient signals. Using TCM results in a smoother sounding signal, because of the increased ability to use slightly less aggressive settings and still achieve the desired effects in gating, compression, and limiting. TCM time from 0s to 3ms: TCM delay time is variable in the length of time it delays the audio signal, allowing the detectors to begin to react to the signal. For a complete explanation of TCM Transient Capture Mode, see section 6.
Parameters of the Compressor The parameters included on the DDP for compression operations are as follows:
Compressor Ratio Threshold point
Off/on: As with the gate, the compressor section must be turned on. The curve window will show the compression threshold, as well as the ratio and gain levels. dbx OverEasy off, knees 1-10: Activating the OverEasy threshold characteristic softens the compression knee, making the transition between uncompressed and compressed signal as seamless as possible. In addition to having the on/off setting, you may choose varying knee slopes with the VariKnee variable knee algorithm (see figure below). Selecting knee #1 activates the curve next to the hard knee curve, #2 selects the next softer knee, etc., up to knee #10, which is the softest knee. Knee #1 - Small OverEasy range
Input Figure 16: OverEasy VariKnee curves Output
Knee #10 - Larger OverEasy range
Auto mode off/on: Activating Auto mode disables the Attack, Hold and Release controls, triggering a message to that effect in the curve window. Attack and release settings become fully program-dependent, and manual changes in the settings do not have any effect on the audio signal or the response of the compressor. Auto mode is especially effective on signals such as vocals or other highly dynamic signals. Most factory setups use Auto mode because of its ability to perform smooth compression under widely varying circumstances.
When Auto Mode is activated, the Attack, Hold and Release controls are program-dependent and are not affected by your manual settings.
Threshold range from -60dB to +4dB: Setting the threshold is the same on the compressor as it is on the gate or limiter. There is a visual representation of the threshold on the curve window, and as you edit the parameter, you will see motion up or down on the curve window, allowing much greater understanding of the effects of each parameter on the entire compression algorithm. Ratio from 1:1 through :1: As the signal passes through the threshold region, it begins to be compressed at the rate set with the ratio setting. It is expressed in a ratio for ease of use, for example, with a ratio setting of 4:1, the signal would have to increase by 4dB in input to increase the output by 1dB. With the wide-ranging control on the DDP, it is possible to achieve very smooth, transparent compression as well as heavy, in-your-face compression effects. Gain from -20dB to +20dB: When a signal is compressed, by definition some of its gain is taken away. It therefore becomes necessary to boost the now-compressed signal back up to a useable level. As you make this adjustment you can see the effect in the curve window. The compressed signal is now more dynamically controlled and can be boosted to a level that was not possible before it was compressed. Attack control from 0.1ms to 200ms: As the signal exceeds the threshold, the speed at which the compressor begins to react is set by the Attack control. Its range is from very fast to somewhat slow, allowing you to have all the control you want. The Attack control is active when not in Auto mode (see Auto mode above). Hold from 0ms to 500ms: Hold sets the minimum gain reduction amount for a determined amount of time, after the the signal passes below the threshold. If the signal goes back above the threshold, the hold time is restarted and will hold the compressor at that amount of gain reduction for the set time, after the signal once again moves below the threshold. The Hold control is active when not in Auto mode (see Auto mode above). Release from 360dB/sec to 5dB/sec: The release control sets the speed at which the signal is returned to the normal signal after it has gone below the threshold, and the Hold time has been exceeded. The Release control is active when not in Auto mode (see Auto mode above).

EDITING LIMITERS

Figure 17: Limiter parameters and curve
Parameters of the Limiter The parameters included on the DDP for limiting operations are as follows:

Limiter output level

Limiter threshold
Off/on: Again, the limiter must be turned on to be able to change the parameters and affect the signal. The curve window shows the threshold point of the limiter. Threshold control from -60dB to +4dB: As you move the threshold of the limiter up and down, you see the output level of the DDP move in relation to the setting. This means that the limiter of the DDP sets the absolute output level for the unit. Remember that very fast transient signals can occasionally sneak past the threshold control of any limiter. If you wish catch every single transient, set the TCM to a longer delay time, allowing the DDP to begin to react to a transient signal faster. (For complete information on the TCM Transient Capture Mode controls, refer to the gate section on page 14 and 15, as well as appendix #1) Also note that the digital meters show when even 1 sample gets through the threshold. this can be disconcerting, given the fact that it appears that much more signal actually gets through the threshold. Also, it is possible to set the threshold of the limiter below the threshold of the compressor, causing all of the gain reduction to happen in the limiter, and none to happen in the compressor. As you do this, you will notice that the curve window displays exactly what the threshold level is set to, even to the point of overwriting the compression settings. Move the threshold level of the limiter up and down to see how this effects the composite signal. Limiting takes place after the compressors gain control setting Attack control from 0.1ms to 200ms: The attack control sets the speed at which the signal is limited as it crosses over the threshold into the limiting region. Release from 360dB/sec to 5dB/sec: The release control sets the speed of release of the signal as it goes below the threshold, out of the limiting region, and is returned to its normal, unprocessed waveform.

EDITING DE-ESSERS

Parameters of the De-Esser The parameters included on the DDP for De-Essing operations are as follows:
Frequency at which de-essing begins to occur
Figure 18: De-Esser parameters and curve
Off/on: Same thing as all the others. When you are not using the de-esser, it should be turned off. Frequency control from 800Hz to 8kHz: The Frequency control is much like an audio threshold point as it relates to frequency, rather than amplitude or level. As you scroll through the control area you will see the curve move in accordance to your settings. You are setting the frequency point at which de-essing will begin to occur. For the femail voice a good starting point is in the 5-8kHz range, and for males the range is a little lower, about 3-6kHz. Amount from 0% to 100%: The Amount control varies the amount of de-essing. For light de-essing set it low, and for a heavier effect, set it higher.

The controls for TSE are always active. If you do not want any coloration added to your signal, simply set the controls to Normal.
TCM -- Transient Capture Mode Transient Capture Mode, or TCM works on the principle of delaying the audio signal up to 30s, and letting an unheard control signal begin to activate the response of the VCA. The overall result is the perception of a very fast moving compressor, able to catch the front of almost any transient signal, but not delaying the audio signal enough to produce any phase correlation errors. In the DDP, you may vary the delay, in the form of a TCM delay control, with a range from 0s (microseconds (s) are measurement units in 1000ths of a second) to 3ms. While this is not enough delay to cause phasing errors, it is enough to give the device time to start to react before the signal arrives at the point of processing. The controls for the TCM section are in the Gate parameter area. While the effect is global, the gate must be turned on in order for the TCM module to work. If you want to use the TCM functions without the gate, simply turn the gate on and set the ratio to 1:1 and the threshold to -75dB. This effectively turns the gate on, but leaves it wide open, no matter what signal is presented at the threshold.
The resulting implementation in the DDP allows you to vary the amount of delay, based on the transient characteristics of the signal being processed. The signal sounds smoother and easier for the DDP to process in the compressor, limiter, and de-esser functions.
APPENDIX 2: FACTORY SETUP LISTING

Linked Setups

St Def #1 St Def #2 Ext Sch Def EQ-G-C-DS-L SEQ-G-C-DS-L EQ-G-C-DS-L Light Mix Over Heavy Too Loud! The Wave Telephone Phat Mr. Master Catz Meow SCh Bass Thiknchunky St Drums St Vocal XL Bottom Hill & Dale St E Guitar St Piano St Synth Tickle Me Back Bacon DJ Duck Cassette EQ-G-C-DS-L EQ-G-C-DS-L SEQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L SEQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L SEQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L EQ-G-C-DS-L
Factory Setup Listing Following is a complete listing of the factory designed setups. While this is not meant to be an exhaustive list of applications, it is meant to be a good starting off point for you to be creative in designing custom setups for you r own needs. Notice the the first three setups are factory default stereo setups that allow you to make a setup completely from scratch. Do you recognize the three different chain types from earlier in this manual? Further down the list, you will notice the six mono chain types as well.
.Default set-up with all values set to zero, for use when building a custom set-up from scratch.Default set-up with all values set to zero, for use when building a custom set-up from scratch.Default set-up with all values set to zero, for use when building a custom set-up from scratch. Note: This is a mono set-up on channel 1 with channel two acting as the sidechain key.Very light compression and sweetening.Heavy Compression with a a light feel.Very heavy compression with lots of gain for that one louder setting.Medium compression with heavy sweetening.Medium compression with heavy EQ.Light compression with extra bass.Light overeasy compression with just the right EQ for your DAT.So light you will not even know it is on.External sidechain for your bass.Medium compression in the middle.Medium compression, with EQ and gating to bring out the drums.Light compression, EQ and De-essing for those stereo background vocals.Light compression with heavy EQ on the bottom.Light Compression, EQ and Gating, perfect for transferring from analog to digital.Medium Compression with heavy Gating and a little bump in the bottom end.Very mild Compression and Gating with the Sidechain EQ to bring out the top and bottom of the piano and the room.Light Compression with some gating and light EQ to clean up Synth tracks.Just a touch in all the right places.Light to medium compression with a little EQ to fatten up the mix. Eh.A ducker, using the side chain to key the compressor.Heavy compression with lots of Gating and EQ, to clean up a cassette vocal track.

Mono Setups

Default #1 Default #2 Default #3 Default #4 Default #5 Default #6 Swift Kick Fat Kick Solid Kick Thick Kick Brite Snare Rim Shot Slam Snare Toms Toms Tight Toms Ringin Toms CongoCongas Tambourine Sh-shaker Funk Bass Punchy Bass Slap Bass Rumble Bass Martins Gt F-Pick AcGt Folk Rock Gt Twang E Gtr 2x12 Guitar Monster Gtr FunkStompGt Low Strings Hi Strings LushStrings Horns O Luv Mello Horns Horn Splat Brite Horns 7ft Grand Upright Pno Tight Voc Small Voc De-ess Voc Country Voc Clear Voc Ambient Voc
EQ-G-Cmp-L.Default set-up with all values set to zero, for use when building a custom set-up from scratch. EQ-G-Cmp-DS.Default set-up with all values set to zero, for use when building a custom set-up from scratch. EQ-Cmp-DS-L.Default set-up with all values set to zero, for use when building a custom set-up from scratch. SEQ-G-Cmp-L.Default set-up with all values set to zero, for use when building a custom set-up from scratch. SEQ-G-Cmp-DS.Default set-up with all values set to zero, for use when building a custom set-up from scratch. SEQ-Cmp-DS-L.Default set-up with all values set to zero, for use when building a custom set-up from scratch. EQ-G-Cmp-L.Medium Compression, heavy Gating with a push in the bottom. EQ-G-Cmp-L.Heavier Compression and EQ with lots of gating. SEQ-G-Cmp-DS.Heavy Compression and Gating with the bottom ringing. SEQ-G-Cmp-L.Medium Compression on the mids and heavy gating on everything else. EQ-G-Cmp-L.Heavy Compression with a lot of gating and a dip at 400 Hz. EQ-G-Cmp-L.Heavier Compression with lots of gating and a dip in the bottom. SEQ-G-Cmp-L.Medium Compression on the bottom with some gating, and a push at 315 Hz. EQ-G-Cmp-L.Medium to heavy compression with some gating and EQ to accentuate the ring. EQ-G-Cmp-L.Heavy Compression with medium gating, a boost in the low mids, and the bottom rolled out. SEQ-G-Cmp-L.Medium Compression on the top and gating. EQ-G-Cmp-L.Light to medium compression with some gating and EQ to bring the top out. EQ-G-Cmp-L.Medium compression with some gating and EQ to mellow out the top end. EQ-G-Cmp-L.Light compression and gating with the bottom rolled out. EQ-G-Cmp-L.A boost in the deep bass with a cut in the mid-bass, medium compression and a little gating. SEQ-G-Cmp-L.Sidechain EQ with light compression to enhance the low mids and a fair amount of gating. EQ-G-Cmp-L.EQ with heavy compression and a lot of gating. EQ-Cmp-DS-L.Light overeasy compression with the top rolled out. EQ-G-Cmp-L.Mild compression with a little EQ for your prized acoustic guitar. EQ-G-Cmp-L.Medium Compression with a little gating and EQ to keep your picking under control. SEQ-G-Cmp-L.Sidechain EQ combined with medium to heavy Compression to keep from feeding back. EQ-G-Cmp-L.Light Compression with a tiny boost in the top end to shine through. EQ-G-Cmp-L.Heavy Compression and gating with some sidechain EQ to keep the bottom punchy. EQ-G-Cmp-L.Medium Compression with a big boost on the bottom. EQ-G-Cmp-L.Medium Compression with heavy gating and wild EQ. EQ-G-Cmp-L.Light overeasy compression with a boost in the bottom end. SEQ-G-Cmp-L.Light compression with a bump in the sidechain EQ to minimize harshness. EQ-G-Cmp-DS.Very light compression with a push in the low end. EQ-G-Cmp-L.Medium Compression with some added top and bottom. SEQ-G-Cmp-L.Sidechain EQ pushed in the upper mid with medium compression. EQ-G-Cmp-L.Medium to heavy overeasy compression with a push on the top. SEQ-G-Cmp-L.Medium compression with a real gentle curve on the sidechain EQ. EQ-G-Cmp-L.Very light overeasy compression with a little more bottom and top. EQ-G-Cmp-L.Medium compression with a small bump in the midrange. EQ-Cmp-DS-L.Medium overeasy compression with some of the real low end rolled out. EQ-G-Cmp-DS.Medium compression and gating with the top and bottom rolled out. SEQ-Cmp-DS-L.Medium Compression with the sidechain EQ bumped at 8KHz to control the sibilance. EQ-G-Cmp-L.Light compression with a fair amount of top end. EQ-G-Cmp-L.Medium to heavy Compression with the low end rolled out. EQ-Cmp-DS-L.Light Compression with the Sidechain EQ to accentuate the room.

APPENDIX 4: MIDI / CC / SYSEX IMPLEMENTATION

MIDI basics

MIDI Channels: The DDP can be set so that it communicates on 1 of 16 discrete MIDI channels. The DDP may also be set up to transmit or receive information on all channels in an Omni mode or to none of the channels in a Disabled (off) mode. Program Changes: When the DDP is set to communicate on one or all of the MIDI channels, it will recognize a Program Change command. If the number is legal (e.g. within the device's range of selectable programs) the DDP will respond by changing to the new program. MIDI sends Program Changes 0 through 127. The DDP begins its program numbering with 1, thus Program Change 0 will select program 1. The DDP also allows the user to 're-map' the Program Change commands so that Program Change 0 could call program 60, if so desired. This procedure is described in section 7 - Utilities. Continuous Controllers: A MIDI Continuous Controller may be 'Linked' to nearly any available parameter in the DDP. CC links (Modifiers) and their ranges are treated uniquely in each program with the assignments being saved only if they are stored as part of the program. The following table shows the CCs that are available, and which parameters are controlled.
cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc
0 -> chain1 gate on/off 1 -> chain2 gate on/off 2 -> chain1 gate Threshold 3 -> chain2 gate Threshold 4 -> chain1 gate Gate Ratio 5 -> chain2 gate Gate Ratio 6 -> chain1 gate Attack 7 -> chain2 gate Attack 8 -> chain1 gate Hold time 9 -> chain2 gate Hold time 10 -> chain1 gate Release 11 -> chain2 gate Release 12 -> chain1 gate TCM on/off 13 -> chain1 gate TCM on/off 14 -> chain1 gate TCM time 15 -> chain1 gate TCM time
cc 32 -> chain1 Comp Release cc 33 -> chain2 Comp Release cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc 64 -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> chain1 chain2 chain1 chain2 chain1 chain2 chain2 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 Limiter Limiter Limiter Limiter Limiter Limiter Limiter Limiter DSr DSr DSr DSr DSr DSr EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ On Off On Off Threshold Threshold Attack Attack Release Release
cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc
-> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> -> ->
chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2 chain1 chain2

SysEx Setup Dump Sample

Following is a simple example of a SysEx Setup dump. It takes you set by step through all of the operation commands of a typical SysEx procedure. <<SysEx Header>> F01 1E <<Procedure>> 43 <<Setup Dump Version>> <<Setup Type and Setup Number>> <<Setup Transmit Count.Lo Bytes, Hi Bytes>> 00 0A <<12 Character Setup Name.dynamic>> 00 3A 00 3A <<Null to indicate end of Character String>> <<Misc Setup Data.too dynamic to document>> 01 7E 01 7F <<SysEx End>> F7
APPENDIX 5: FACTORY SERVICE / WARRANTY INFORMATION
Warranty / Factory Service If you require technical support, contact dbx Customer Service. Be prepared to accurately describe the problem. Know the serial number of your unit - this is printed on a sticker attached to the rear panel. If you have not already taken the time to fill out your warranty registration card and send it in, please do so now.
Before you return a product to the factory for service, we recommend you refer to the manual. Make sure you have correctly followed installation steps and operation procedures. If you are still unable to solve a problem, contact our Customer Service Department at (801) 568-7660 for consultation. If you need to return a product to the factory for service, you MUST contact Customer Service to obtain a Return Authorization Number. No returned products will be accepted at the factory without a Return Authorization Number. Please refer to the Warranty below, which extends to the first end-user. After expiration of the warranty, a reasonable charge will be made for parts, labor, and packing if you choose to use the factory service facility. In all cases, you are responsible for transportation charges to the factory. dbx will pay return shipping if the unit is still under warranty. Use the original packing material if it is available. Mark the package with the name of the shipper, and with these words in red: DELICATE INSTRUMENT, FRAGILE! Insure the package properly. Ship prepaid, not collect. Do not ship parcel post. This warranty is valid only for the original purchaser and only in the United States. 1. The warranty registration card that accompanies this product must be mailed within 30 days after purchase date to validate this warranty. Proof-of-purchase is considered to be the burden of the consumer. 2. dbx warrants this product, when bought and used solely within the U.S., to be free from defects in materials and workmanship under normal use and service. 3. dbx liability under this warranty is limited to repairing or, at our discretion, replacing defective materials that show evidence of defect, provided the product is returned to dbx WITH RETURN AUTHORIZATION from the factory, where all parts and labor will be covered up to a period of two years. A Return Authorization number must be obtained from dbx by telephone. The company shall not be liable for any consequential damage as a result of the product's use in any circuit or assembly. 4. dbx reserves the right to make changes in design or make additions to or improvements upon this product without incurring any obligation to install the same additions or improvements on products previously manufactured. 5. The foregoing is in lieu of all other warranties, expressed or implied, and dbx neither assumes nor authorizes any person to assume on its behalf any obligation or liability in connection with the sale of this product. In no event shall dbx or its dealers be liable for special or consequential damages or from any delay in the performance of this warranty due to causes beyond their control.

APPENDIX 6: SPECIFICATIONS
Inputs Connectors: Type: Impedance: Max Input Level: CMRR: Input Gain Range: MIDI:
Female XLR and 1/4 TRS (Pin 2 and tip hot) Electronically balanced/unbalanced, RF filtered Balanced >26 k, unbalanced >13 k >+24 dBu balanced or unbalanced >40 dB, typically >55 dB at 1 kHz - to +16 dB 5-Pin DIN MIDI Input Jack
Outputs Connectors: Type: Impedance: Max Output Level: Output Gain Range: MIDI: A-D System Performance A-D Conversion: Convertor Dynamic Range: Type IV Dynamic Range:
Male XLR and 1/4 TRS (Pin 2 and tip hot) Servo-balanced/unbalanced, RF filtered Balanced 120 , unbalanced 60 >+21dBu balanced/unbalanced into 2k or greater >+20dBm balanced/unbalanced (into 600) - to +16 dB 5-Pin DIN MIDI Out/Thru Jack
THD+Noise: Frequency Response: Interchannel Crosstalk: D-A System Performance D-A Conversion: Dynamic Range: THD+Noise: Frequency Response: Interchannel Crosstalk: Compressor Controls:
24-bit, dbx Type IV Conversion System 109 dB typical, A-weighted, 22 kHz bandwidth 107 dB typical, unweighted, 22 kHz bandwidth Up to 122 dB with transient material, A-weighted, 22 kHz bandwidth Up to 120 dB with transient material, unweighted, 22 kHz bandwidth Typically 114 dB with program material, A-weighted, 22 kHz bandwidth Typically 112 dB with program material, unweighted, 22 kHz bandwidth 0.002% typical at +4 dBu, 1 kHz, input gain at 0 dB 20 Hz to 20 kHz, +0/-0.5 dB < -85 dB at 1 kHz, input gain at 0 dB
24-bit 105 dB typical, A-weighted, 22 kHz bandwidth 102 dB typical, unweighted, 22 kHz bandwidth 0.002% typical at +4 dBu, 1 kHz, output gain at 0 dB 20 Hz to 20 kHz, +0/-0.5 dB < -85 dB at 1 kHz, output gain at 0 dB
Limiter Controls: Expander/Gate Controls:
Variable Threshold, Ratio, Manual Attack/Hold/Release, Auto Attack/Hold/Release, Output Gain, Selectable Hard Knee or OverEasy with adjustable VariKnee
Variable Threshold, Attack, Release
Variable Threshold, Ratio, Attack, Hold, Release
Transient Capture Mode Control: De-Esser Type: Controls: Parametric EQ Type: Wideband gain reduction Variable Frequency, Amount Controls: General Stereo Coupling: Sampling Frequencies: Analog Indicators Input/Output Meter per Channel: I/O Meter Switches: Options Digital I/O Card: Power Supply Operating Voltage: True RMS Power Summing 44.1 or 48 kHz Power Consumption: Mains Connection: Backup Battery Type: Environment Operating Temperature: Physical Dimensions: Weight: Shipping Weight:
Variable TCM Time (delay time) in 10 microsecond increments up to 3 milliseconds

3-Band, Fully Parametric, Fully Overlapping over the audio band Switchable location in-line with the audio path or in-line with the internal sidechain Variable Frequency, Q, Gain
8-segment lightpipe bar graph at -24, -18, -12, -6, 0, +6, +12, and +18 dBu Green lightpipe switch for each channel indicates input level is selected
AES/EBU (XLR) and S/PDIF (RCA) in and out, software selectable format
100 VAC 50/60 Hz 120 VAC 60 Hz 230 VAC 50/60 Hz 22 Watts IEC 320 receptacle 3 Volt Lithium, Eveready Style ER2032 or equivalent

0C to 40C (32F to 104F)

1.75 H X 19 W X 9 D 6.5 lbs. (3.0 kg) 8.0 lbs. (3.6 kg)
Note: Specifications subject to change.
A Harman International Company
8760 South Sandy Pkwy. Sandy, Utah 84070 Phone: (801) 568-7660 Fax: (801) 568-7662 Intl Fax: (219) 462-4596
Questions or comments? Email us at: customer@dbxpro.com or visit our World Wide Web home page at: www.dbxpro.com

18-2211-A 3/31/98

Digital Dynamics Processor

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dbx Digital. now the possibilities really are endless. The dbx DDP offers you the processing power of digital, with the great sounds you know and want from the analog world. Plus, with digital technology, we can offer you more precise control and extended parameters than you could ever have with analog processing. The DDP gives you a true stereo processor, coupled with dbx True RMS Power Summing technology, or two independent mono units, giving you the versatility and power of processors costing many times more. Gating, compression (yes, with OverEasy, all-new VariKnee, or good ol hard knee thresholds), limiting, de-essing and EQ (both in-path and sidechain) are available in the DDP in any order you want. The possibilities are endless. The LCD display shows you all the information you need to know, complete with a digital meter that will blow your socks off, featuring peak and average levels at the same time.

SIDE CHAIN / EQ

COMPRESSOR

SELECT

PROGRAM

DE-ESSER

BYPASS

LIMITER

UTILITY
Wouldnt it be nice if you could see the effects of your entire setup in one place? They are displayed visually in the form of a graphical curve on the right side of the display, making it a snap to set up even the most challenging of systems. In fact, it works right out of the box, no Ph.D. required, with 50 great factory preset setups to help you get started. The DDPs operating system offers you the ability to refine and save presets to your liking then name and save them as your own presets for later recall. Wide ranging gain controls allow for both +4 and -10 operation, without any effort on your part. The 8-step analog LED ladders show you exactly what is coming in and going out of the DDP. Metering on the display shows the effects of the processing on the signal in real time. Audio performance is also top shelf, with ultra-wide range 24bit A/D and D/A converters with dbx TYPE IV Conversion System featuring TSE (Tape Saturation Emulation) right on board. Digital input/output is also available as an option, giving you the ability to go all-digital. Full MIDI SysEx automation functionality makes the DDP one of the most versatile processors on the market today.

INPUT / OUTPUT LEVEL dBu

All the classic dbx sounds in gating, compression, limiting, de-essing, and sidechain EQ The most extensive metering available Graphical representaion of signal shows composite effects in real time TYPE IV Conversion System with TSE (Tape Saturation Emulation)
24bit A/D and D/A convertors keep your signal pristine Building Block style operating system lets you build and save your own presets Digital input/output option
dB +4 OUTPUT GAIN dB +4 OUTPUT GAIN dB +16 INPUT GAIN dB +16 INPUT GAIN

CHANNEL 1

+10 -20

I/O Meter

CHANNEL 2

PROFESSIONAL PRODUCTS

8760 S. Sandy Pkwy. Sandy, Utah 84070 Phone (801) 568-7660 Fax (801) 568-7662 Intl Fax (219) 462-4596 customer@dbxpro.com http://www.dbxpro.com
A Harman International Company
DIGITAL DYNAMICS PROCESSOR
-24 -18 -12 -+6 +12 +18 -24

-18 -12 -+6 +12 +18

0 -10 +10 -20 I/O Meter dB +16 INPUT GAIN

-10 -10

0 +10 -20 I/O Meter
0 PAGE DOWN dB +4 OUTPUT GAIN PROGRAM STORE BYPASS

dB +4 OUTPUT GAIN

dB +16 INPUT GAIN

18 WATTS

AES/EBU

AES/EBU IN

CHANNEL TWO

INPUTS OUTPUTS

CHANNEL ONE
A HARMAN INTERNATIONAL COMPANY SALT LAKE CITY, UTAH MADE IN USA MODEL DDP DIGITAL DYNAMICS PROCESSOR
OUT INPUT OUTPUT S/PDIF OUT/THRU IN

100V 50/60Hz 120V 60Hz

50 factory presets, 50 user programmable presets Build your own presets using your favorite building blocks
Variable Transient Capture Mode (A feature previously available only in the 172 Super Gate) Limiting from -60dB to 0dB, with gain, attack and release.
Change programs, parameters, and bypass via midi controllers High resolution gain reduction metering Wide-ranging gain control allows for +4/-10 operation 8-step analog input and output metering TYPE IV output available when equipped with digital output option Digital input and output meters measure internal digital processing levels Digital meters show both peak and average levels Hybrid display technology. Combines the best of graphics, character and icon based displays (the display is Gorgeous!) OverEasy with VariKnee (Brand New! Available only in the DDP) or hard knee thresholds All the classic dbx trademark sounds in gating, compression, limiting, de-essing, and sidechain EQ. Hi-res graph shows composite output vs. input plot of audio signal Gate controls: threshold, ratio, attack, hold, release Compression controls: threshold, ratio, gain, OverEasy, auto, attack, hold, and release Ultra-smooth continuous Auto mode. dbx engineers are constantly working to improve the quality of our products. Specifications are, therefore subject to change without notice. Precision control over every parameter XLR and 1/4" balanced ins and outs. Sidechain functions for advanced filtering applications. Sidechain monitor included De-ess from 800Hz to 8kHz, vary the amount. EQ offers 20Hz to 20kHz, Q, 12dB, and Side Chain Monitor. Utilities: sample rate, A/D input and output, Midi functions, Sysex functions. Midi bypassable via midi program changes Optional AES/EBU or S/PDIF output for assured compatibility and flexibility. 48 / 44.1 kHz output Ultra wide dynamic range 24 - Bit A/D and D/A converters with TSE Tape Saturation Emulation on board