ProVocal

Digital Vocal Processor w/ digital output
If this thing had a Versatility knob, it would be stuck on 10! The ProVocalTM from dbx Professional Products offers unmatched versatility for the project studio enthusiast at an unparalleled value. The new ProVocal has taken all of the laborious guesswork out of selecting tools for providing great vocal tracking. The ProVocal is an all-inclusive toolbox which is perfect for applications including live, studio and karaoke. The ProVocal features a superb microphone preamp coupled with state-of-the-art microphone and mic preamp modeling for a wide variety of sonic characteristics. From there you go into classic dbx dynamic processing such as gating, compression, de-esser, and limiter, then on to parametric EQ, chorus, flanger, delay and reverb. Other features include a 24-bit S/PDIF output with selectable 44.1 or 48k sample rate and MIDI control.
Once again, the company that has been revolutionizing the audio world for more than 30 years, is proud to offer a product that has taken the best vocal audio processing power tools available, and combined them under the hood of a single chassis. The design team at dbx Professional Products have painstakingly put together a processor that painlessly helps vocalists create warm and rich vocal tones in the digital domain with crystal clear digital effects, while providing dynamics processing powers that can all be controlled via the smart, sophisticated front panel. The ProVocal takes models of some the most sought after microphones and mic-preamps in the industry, and makes them readily available at your finger tips. The output versatility of the ProVocal offers XLR and 1/4 analog inputs and outputs and an S/PDIF digital output, making it a truly flexible work horse for any vocal application.
Digital Microphone Modeling Digital Preamplifier Modeling 20 dB pad, 48 Volt Phantom Power Classic dbx Compression Parametric EQ, De-Esser, Gate Chorus, Flanger, Delay and Reverb
24-bit S/PDIF Digital Output 44.1 or 48 kHz Operation Selectable Mic/Line Switch Front Panel Instrument XLR Input Balanced 1/4 or XLR Outputs MIDI Control
A Harman International Company
8760 S. Sandy Pkwy. Sandy, Utah 84070 Phone (801) 568-7660 Fax (801) 568-7662 Intl Fax (801) 568-7583 customer@dbxpro.com http://www.dbxpro.com

18-0006-A 11/01

Microphone Input Connector: Type: Impedance: Maximum Input Level: CMRR: Equivalent Input Noise: Gain Line Input (Rear Panel) Connector: Type: Impedance: Maximum Input Level: CMRR: Gain Instrument Input (Front Panel) Connector: Type: Impedance: Maximum Input Level: Analog Outputs Connector: Type: Impedance: Maximum Output Level: S/PDIF Digital Output Connector: Impedance:
Female XLR pin 2 hot Electronically balanced/unbalanced RF filtered Balanced <18kHz / unbalanced 79 kHz -9 dBu or +11 dBu with 20 dB pad engaged >40dB, Typically 55dB at 1kHz Typically -120.2 dBu with a 150 source load, 20Hz to 20kHz BW +30dB to +60dB
A-D System Performance A-D Conversion: Convertor Dynamic Range: Type IV Dynamic Range:
TRS 1/4" jack Electronically balanced/unbalanced 20k unbalanced, 40k balanced +18dBu balanced or unbalanced >40dB, Typically 55dB -15dB to +15dB
24-bit, dbx Type IV Conversion System 105 dB typical, A-weighted, 22 kHz bandwidth 102 dB typical, unweighted, 22 kHz bandwidth Up to 117 dB with transient material, A-weighted, 22 kHz bandwidth Up to 115 dB with transient material, unweighted, 22 kHz bandwidth Typically 109 dB with program material, A-weighted, 22 kHz bandwidth Typically 106 dB with program material, unweighted, 22 kHz bandwidth 0.002% typical at +4 dBu, 1 kHz, input gain at 0 dB 20 Hz to 22 kHz, +0/-0.5 dB
THD+Noise: Frequency Response: D-A System Performance D-A Conversion: Dynamic Range: THD+Noise: Frequency Response: Interchannel Crosstalk: Power Supply: Operating Voltage: Power Consumption: Physical: Dimensions: Weight: Shipping Weight:
TS 1/4" Jack Unbalanced 470 k +18dBu unbalanced
24-bit 103 dB typical, A-weighted, 20 kHz bandwidth 101 dB typical, unweighted, 20 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

Male XLR pin 2 hot and TRS 1/4" Electronically balanced Balanced 120, unbalanced 60 >+18 dBu into 100 k
DO: 120 VAC. 60Hz, 100 VAC 50/60 Hz - EU: 220-240 VAC 50/60 Hz 15 watts

RCA 75

1.75''Hx 5.75''Dx19''W 7.14 lbs. (3.24 kg) 10 lbs (4.40 kg)
dbx engineers are constantly working to improve the quality of our products. Specifications are, therefore subject to change without notice.
FOR MORE INFORMATION CONTACT: dbx Professional Products 8760 S. Sandy Pkwy. Sandy, Utah 84070 Phone (801) 568-7660 Fax (801) 568-7662 customer@dbxpro.com http://www.dbxpro.com

CONDUCTOR L N LIVE NEUTRAL
WIRE COLOR Normal BROWN BLUE Alt BLACK WHITE GREEN

E EARTH GND GREEN/YEL

WARNING: If the ground is defeated, certain fault conditions in the unit or in the system to which it is connected can result in full line voltage between chassis and earth ground. Severe injury or death can then result if the chassis and earth ground are touched simultaneously.

LITHIUM BATTERY WARNING

CAUTION!
This product may contain a lithium battery.There is danger of explosion if the battery is incorrectly replaced. Replace only with an Eveready CR 2032 or equivalent. Make sure the battery is installed with the correct polarity. Discard used batteries according to manufacturers instructions.

U.K. MAINS PLUG WARNING

A molded 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.

ADVARSEL!

Lithiumbatteri - Eksplosjonsfare.Ved utskifting benyttes kun batteri som anbefalt av apparatfabrikanten. Brukt batteri returneres apparatleverandren.
DECLARATION OF CONFORMITY
Manufacturers Name: Manufacturers Address: dbx Professional Products 8760 S. Sandy Parkway Sandy, Utah 84070, USA
Lithiumbatteri - Eksplosionsfare ved fejlagtig hndtering. Udskiftning m kun ske med batteri av samme fabrikat og type. Levr det brugte batteri tilbage til leverandren.

VAROITUS!

Paristo voi rjht, jos se on virheellisesti asennettu.Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppin. Hvit kytetty paristo valmistajan ohjeiden mukaisesti.
declares that the product: Product name: dbx ProVocal
Note: Product name may be suffixed by the letters -EU.

VARNING!

Explosionsfara vid felaktigt batteribyte. Anvnd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera anvnt batteri enligt fabrikantens instruktion.
Product option: none conforms to the following Product Specifications: Safety: EMC: IEC 60065 (1998) EN 55013 (1990) EN 55020 (1991)
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.
Supplementary Information: The product herewith complies with the requirements of the Low Voltage Directive 72/23/EEC and the EMC Directive 89/336/EEC as amended by Directive 93/68/EEC. dbx Professional Products President of The Harman Music Group 8760 S. Sandy Parkway Sandy, Utah 84070, USA September 25, 2001 European Contact: Your local dbx Sales and Service Office or Harman Music Group 8760 South Sandy Parkway Sandy, Utah 84070 USA Ph: (801) 566-8800 Fax:(801) 568-7583

Introduction

0.1 Defining the ProVocal..i
Table of Contents Section 3 Application Guide
Basic Connections..14 Connections to a Mixing Console..14
0.2 Service Contact Info...ii Applications 3.3 to 3.6..15 0.3 Warranty..ii

Appendix

Block Diagram..18 dbx Type IV Conversion System..19 Microphone Modeling Technique..23
0.4 Installation Recommendations.iii
Section 1 - Getting Started
1.1 Rear Panel Connections..2
Specifications...24 1.2 Front Panel Connections..3
Section 2 - Detailed Parameters/ Basic Operation and Utility Functions
2.1 Detailed Parameters...6

2.2 Basic Operation..9

2.3 Utility Functions..11

2.4 Program List..12

Table of Contents

ProVocal User Manual

INTRODUCTION

CUSTOMER SERVICE INFO

ProVocal DEFINED

WARRANTY INFO

Congratulations on your purchase of the dbx ProVocal Digital Vocal Processor with digital output capabilities. For over 30 years, dbx has been the industry leader in dynamics processing. With the introduction of the ProVocal, dbx offers unmatched versatility for the project studio enthusiast at an unparalleled value. The ProVocal features a superb microphone preamp coupled with state of the art microphone and mic-pre-amp modeling for a wide variety of sonic characteristics. The ProVocal also offers classic dbx dynamic processing with gating, compression, de-esser, and limiter, plus chorus, flanger, delay and reverb effects. Other features include a 24-bit S/PDIF output with selectable 44.1 or 48kHz sample rate and MIDI control. This manual will be your guide to understanding the full functionality of the powerful ProVocal. After you have become familiar with the unit, we encourage you to experiment and find creative ways that the ProVocal can help you optimize your specific application.

0.1 Defining the ProVocal
The dbx ProVocal Digital Vocal Processor provides the user with crystal clear digital effects processing as well as giving you pristine digital output capabilities. Listed below, are some of the features available to you in the ProVocal:
Digital Microphone Modeling Digital Preamplifier Modeling 3-Band Parametric EQ Classic dbx Compression De-Esser, Gate Chorus/Flanger, Delay and Reverb Effects MIDI Control 24-bit S/PDIF Digital Output 44.1 or 48 kHz Operation Selectable Mic/Line Switch 20 dB pad, 48 Volt Phantom Power Front Panel XLR Instrument Input Balanced 1/4 or XLR Outputs
Introduction 0.2 Service Contact Info
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.

0.3 Warranty

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.

0.4 Installation Recommendations
FOR RACK MOUNT USE ONLY - Install the ProVocal in your rack with the provided rack screws. When installed in a rack, the unit should be positioned with enough room (at least 1U above and 1U below the unit) to allow proper ventilation. The ProVocal should not be mounted above or below anything that generates excessive heat. Ambient temperatures should not exceed 1130F (450C) when equipment is in use. Although the unit is shielded against radio frequency and electromagnetic interference, extremely high fields of RF and EMI should be avoided where possible.

Section 1

Getting Started

Getting

Started
1.1 Rear Panel Connections
IEC Power Cord Receptacle
This is the power cord receptacle of the ProVocal. An IEC cord is included with the shipped product.
S/PDIF Digital Output Connector
The ProVocal provides S/PDIF digital output formatting through the RCA coaxial connector. Be sure to use short lengths of 75 digital cables or 75 video cables rather than standard audio RCA to RCA cables. Using the correct cables will prevent digital dropouts and other interconnection problems.

MIDI In

This is the input connection for MIDI output devices.

Analog Input Connectors

The analog input section of the ProVocal offers both front panel XLR (Microphone) and 1/4 TS (instrument) rear-panel 1/4" TRS (Line) electronically balanced connections. The 1/4 connector may be used in a balanced or unbalanced configuration. Using a 1/4 TS connector will unbalance the signal.

Analog Output Connectors

The analog output section of the ProVocal offers both XLR and 1/4" TRS electronically balanced connections. The 1/4 connector may be used in a balanced or unbalanced configuration. Using a 1/4 TS connector will unbalance the signal.

Line Input

This balanced high-impedance input connection is used to insert an instrument signal directly into the preamp. Use the LINE switch to make instrument input or the rear panel line input active. Plugging into the instrument jack will override the rear panel 1/4 input jack (line input must be selected).

1.2 Front Panel Controls

Microphone Input
This balanced high-impedance input connection is used to insert the microphone signal directly into the preamp. Use the LINE switch to make Microphone input or the rear panel line input active.

Line Select Switch

This switch, when lit, selects the rear line input or front panel instrument input (when connected) as the source signal of the ProVocal.
This unbalanced high-impedance input connection is used to insert an instrument signal directly into the preamp. Use the LINE switch to select between the instrument input or the rear panel line input. Plugging into the instrument jack will override the rear panel 1/4 input jack (line input must be selected).

+48 Volt Switch

This switch activates phantom power for condenser microphones on pins 2 and 3 of the XLR mic input. You should connect your microphone before turning on the phantom power to prevent damage to your microphone. Be sure to always lower levels prior to using the the +48 Volt Switch.

20dB Pad Switch

This switch attenuates the microphone input signal by 20dB. Note- The +48 Volt and 20dB Pad functions are only available when the microphone input is in use.

Gain Control

This control sets the amount of input gain. The range of gain available is +30 to +60dB for the microphone input and -15dB to +15dB for the line and instrument inputs.

Analog Signal LEDs

These LEDS are used to indicate input signal (Green), Peak (Yellow) signal and Clip (Red) respectively, the peak LED will light 3dB prior to analog input stage clipping.
Program Up and Down buttons
These buttons are used to scroll through the Program menu and when pressed simultaneously, will bypass all ProVocal effects. To take the unit out of bypass mode, press either the <Program Up>, <Program Down> or <Effect> button.

Display Window

This seven-segment window is used to show all program operating and editing information of the ProVocal. Note: If digital clipping occurs, the display window will flash: CL.
Effect Select Button and LEDs
This button is used to select any one of the six effect module blocks available in the ProVocal. Successive presses will scroll through the effect menu. The corresponding LED will light when the effect module is selected and will be lighted in performance mode, when the effect module is on, or used in the current program.

Store Button

This button is used to store any program changes that have been made.

Parameter Edit knobs

These five edit knobs are used to edit the corresponding parameter of the currently selected effect module.

Parameter Edit LEDs

These five LEDs (located beneath the Edit knob) will light when the value of the currently selected parameter value has been changed from the currently stored value.

This parameter controls the input gain of the signal flowing into the microphone preamp model. Values are from 0-99.
This parameter controls the low-cut frequency. All audio below this frequency will be removed. Values are from 0-50.
EQ - Low Gain - -12 to 12 (+/-12dB @ 80Hz)
This parameter controls the Low-gain output of the EQ section and ranges from -12 to +12dBu.
EQ - Mid Frequency - 0 to 61 (400Hz to 8kHz)
This parameter is used to select the mid EQ frequency. Values are as follows: 1). 400.Hz 2).
420.48Hz 3). 442.01Hz 4). 464.63Hz 5). 488.42Hz 6). 513.43Hz 7). 539.71Hz 8). 567.34Hz 9). 596.39Hz 10). 626.92Hz 11). 659.02Hz 12). 692.76Hz 13). 728.23Hz 14). 765.51Hz 15). 804.70Hz 16). 845.90Hz 17). 889.20Hz 18). 934.73Hz 19). 982.58Hz 20). 1032.89kHz 21). 1085.77kHz 22). 1141.35kHz 23). 1199.79kHz 24). 1261.21kHz 25). 1325.78kHz 26). 1393.66kHz 27). 1465.01kHz 28). 1540.01kHz 29). 1618.85kHz 30). 1701.73kHz 31). 1788.85kHz 32). 1880.44kHz 33). 1976.71kHz 34). 2077.91kHz 35). 2184.29kHz 36). 2296.12kHz 37). 2413.67kHz 38). 2537.24kHz 39). 2667.14kHz 40). 2803.69kHz 41). 2947.23kHz 42). 3098.11kHz 43). 3256.72kHz 44). 3423.46kHz 45). 3598.72kHz 46). 3782.97kHz 47). 3976.64kHz 48). 4180.23kHz 49). 4394.24kHz 50). 4619.21kHz 51). 4855.70kHz 52). 5104.29kHz 53). 5365.61kHz 54). 5640.31kHz 55). 5929.08kHz 56). 6232.62kHz 57). 6551.71kHz 58). 6887.13kHz 59). 7239.73kHz 60). 7610.38kHz 61). 8000kHz
EQ - Mid Q - 0 to 10 (.25-16)
This parameter is used to select the mid Q curve of the EQ. Selections are from 0 to 10, giving Qs of:.25,.5,.75, 1.0, 1.25, 2.0, 4.0, 8.0 and 16.0.
EQ - Mid Gain - -12 to 12
This parameter controls the Mid-gain output of the EQ section and ranges from -12 to +12dBu.
EQ - High Gain - -12 to 12 (+/-12dB @ 12kHz)
This parameter controls the High-gain output of the EQ section and ranges from -12 to +12dBu.
Compressor - Threshold - 1 to 60
Adjust this knob to set the threshold of compression from -40dBu (7.8mVrms) to +20dBu. Setting the Compressor THRESHOLD at its highest level will prevent all but the highest level peaks from being compressed. Setting the Compressor RATIO to 1:1 will turn the Compressor off, regardless of the setting of the Compressor THRESHOLD control.

Compressor - Ratio - 0 to 50 (1:1 - Inf:1)
Rotate this control clockwise to increase the amount of compression from 1:1 (no compression) up to :1 (no increase in output level, regardless of input level increases above threshold.)
Compressor - Gain - 0 to 20 (0-20dB)
This control is used to adjust the output gain of the Compressor module in 1dB increments.
Compressor - Attack - 1 to 99 (1-200ms)
The ATTACK control sets the amount of time it takes the ProVocal to begin compressing a signal (once the detector has sensed a signal above threshold). The ATTACK range is from 1 (FAST) for a tighter and more noticeable compression effect with very little overshoot) to 99 (SLOW)
(for more delayed, gradual compression). A very fast ATTACK setting will cause the ProVocal to act like a peak limiter even though RMS detection circuitry is used. Slower ATTACK settings cause the ProVocal to act like an RMS or averaging detecting compressor/limiter.
Compressor - Release - 1 to 99 (360-5dB/sec)
The RELEASE control sets how fast the compression circuit returns the input to its original level. The RELEASE rate is from FAST (where compression follows the envelope of the program material very tightly) to SLOW (for very smooth compression).There is no absolute right way to set the ATTACK and RELEASE controls. However, in general, you will want them set slow enough to avoid pumping or breathing sounds caused when background sounds are audibly modulated by the dominant signal energy, yet the release must be fast enough to avoid suppression of the desired signal after a sudden transient or loud note has decayed. Note: ATTACK and RELEASE controls operate together and in conjunction with the RATIO control. Changing one control may necessitate changing another setting.
De-Esser/Gate - De-Ess Frequency - 1 to 99 (800Hz-8kHz)
This parameter is used to set the frequency that the De-Esser module will process.
De-Esser/Gate - De-Ess Amount - 1 to 99
This parameter is used to set the overall sensitivity amount of the De-Esser module.
De-Esser/Gate - Gate Threshold - 1 to 60 (-55dBu - +5dBu)
Adjusting the this control sets the level at which the gate will open and allow the signal at the input to pass through to the output. Turning the knob fully counter clockwise (to off) allows the gate to pass all signals unattenuated, effectively bypassing the gate. Turning the knob fully clockwise causes the gate to attenuate input signals below +10dBu. The amount of attenuation depends on the setting of the depth control.

De-Esser/Gate - Gate Ratio - 0 to 99
This parameter is used to control the amount that all signal below the threshold will be reduced.
De-Esser/Gate - Gate Release - 1 to 99 (360-5dB/sec)
Adjusting the RELEASE control sets how fast the gate opens once the input signal rises above the threshold. The release rate is from.01 seconds (fully counter clockwise) to 3 seconds (fully clockwise).
Chorus/Flanger - Type - CH or FL
This parameter is used to select either the Chorus or Flanger effect.
Chorus/Flanger - Speed - 0-99
This parameter is used to set the speed of the Chorus or Flanger effect.
Chorus/Flanger - Depth - 0-99
This parameter is used to set the depth of the Chorus or Flanger effect.
Chorus/Flanger - Mix - 1-94
This parameter is used to set the amount of Chorus/Flanger effect that is mixed with the dry signal.
3ProVocal User Manual386 User Manual
Chorus/Flanger - CC - 1-10 Delay/Reverb - Delay time - 0-91 (0-1380ms)

Basic Operation

This parameter is used to select the desired parameter to control with MIDI Settings are as follows: 1: Modeling Microphone, 2: Microphone Preamp Gain, 3: Compressor Gain, 4: Chorus/Flanger Speed, 5: Chorus/Flanger Depth, 6: Chorus/Flanger Mix, 7: Delay Time, 8: Delay Feedback, 9: Delay Input Level and 10: Reverb Mix/Decay.
This parameter is used to set the delay time of the Delay effect. Delay times range from 01380ms, and are measured in 15ms increments.
Delay/Reverb - Delay Feedback - 0-95
This parameter is used to set the amount feedback in the Delay effect. The delay feedback is measured in percentages (0-95%) and changes are made in 1% increments.
Delay/Reverb - Delay Mix - 0-99, 1
This parameter is used to set the amount of Delay effect that is mixed with the dry signal. When set to all wet, no dry signal will be heard. In a typical multi-track recording situation, the main vocal signal is recorded dry on to one track. This track will then be re-recorded on to a second track will the delay set to all wet. During mix-down, the engineer can control the blend of both tracks in real time.

Factory Reset

In the event that a factory reset is required, please use the following procedure: Press and hold the <Store> button while powering up the unit until Frappears in the display. Press the <Program Up> to reset the unit, or wait to abort the procedure. When the reset is taking place, the display will read: rE.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. Dry Studio Vocal Live in a Hall Special Effect Telephone Wood Room Club Land Compressed and De-essed Studio Voc Newsreel recording 40's Vocal Tube Mic Stage Rock Male Studio 1 Male Studio 2 Male Studio 3 Male Studio 4 Male Studio 5 Male Live 1 Male Live 2 Male Live 3 Male Live 4 Male Live 5 Female Studio 1 Female Studio 2 Female Studio 3 Female Studio 4 Female Studio 5 Female Live 1 Female Live 2 Female Live 3 Female Live 4 Female Live 5 Telephone Megaphone Harmonica Overdrive Alien Vocal Grunge Vocal Radio Announcer Arena Announcer Spooky Tube Screaming Concrete Cavern
Modeling Modeling, Modeling, Modeling, Modeling, Hall Reverb modulation effects Wood Room Reverb Club Reverb

2.4 Factory Program List

Mic Mic Mic Mic Mic and and and and and Pre-amp Pre-amp Pre-amp Pre-amp Pre-amp
Mic and Pre-amp Modeling with light compression and de-essing Vintage mic model Vintage ribbon mic model with plate reverb Mic and Pre-amp modeling Modulation, delay and reverb Dynamic modeled as a condenser, pre-amp modeling Dynamic modeled as a tube condenser mic, pre-amp modeling Dynamic modeled as a ribbon, pre-amp modeling Condenser modeled as a tube condenser mic, pre-amp modeling Condenser modeled as a ribbon mic, pre-amp modeling Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, pre-amp modeling Dynamic modeled as a tube condenser micr, pre-amp modeling Dynamic modeled as a ribbon, pre-amp modeling Condenser modeled as a tube condenser micr, pre-amp modeling Condenser modeled as a ribbon micr, pre-amp modeling Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic modeled as a condenser, Chorus, Delay, Reverb Dynamic as vintage telephone mic Dynamic as a small megaphone Dynamic as a harmonica mic into a tube pre-amp Special effects Tube pre-amp effects Vintage radio announcer sound PA horn effect into a large arena Special effects High tube saturation Washy reverb with delay

paranoid of overdriving the converter input and end up recording at lower levels to ensure that there is ample headroom to allow for the large peaks that would ruin an otherwise perfect recording. This, of course, compromises signalto-noise performance since the signal is now closer to the noise floor. Because users of digital equipment have to be extremely careful not to exceed 0dB FS (full-scale), they must use peak-reading headroom meters. On the other hand, the forgiving nature of analog tape allows users of analog recording equipment the luxury of only needing to monitor the average level using VU meters, often having no peak indicators whatsoever. If only digital were more forgiving like analog, we could really exploit its wide dynamic range and more completely capture the essence of the musical performance. Enter the dbx Type IV Conversion System. Like its related predecessor technologiesType I, Type II, and Type IIIdbx Type IV succeeds in preserving the wide dynamic range of the original analog signal within a limited dynamic range medium. Whereas Type I and Type II expand the dynamic range of analog tape and other limited dynamic range media, and the simultaneous encode/decode process of Type III similarly expands the limited dynamic range through minimum-delay devices, Type IV breaks new ground by greatly enhancing the useable dynamic range of the analog-to-digital conversion process. The dbx Type IV Conversion System combines proprietary analog and digital processing techniques to capture a much wider dynamic range than the A/D converter could by itself, preserving the maximum amount of information from the analog signal. This information is then encoded within the available bits of whichever A/D converter is used. This means that Type IV improves the performance of any A/D converter, from low-cost 16-bit to high-performance 24-bit! And no decoding is necessary beyond the conversion process! As we have previously mentioned, digital systems have a wide linear region compared to analog tape and the dynamic range of A/D converters has improved significantly in recent years. The dbx Type IV Conversion System takes advantage of this and utilizes the top 4dB of the A/D converters linear dynamic range to create a logarithmic overload region. This allows high-level transient signals passing far above the point where the overload region begins to be adequately represented in just 4dB of the converters dynamic range, whereas a typical A/D converter would clip. With Type IV, you can never clip the A/D converter!
Fig. 1 illustrates this concept showing the level of the converted signal below and above the start of the overload region. The converted signal level is plotted along the Y-axis (vertical axis) of the plot vs. the level of the input signal along the X-axis (horizontal axis). The logarithmic mapping of the overload region begins 4 dB below 0 dB FS (full-scale) of the A/D converter. What this shows is that below -4 dB FS, in the linear region, the output signal is the same as the input signal. Above this, in the logarithmic region, high-level input signals get mapped into the top 4 dB of the A/D converter. This mapping is analogous to the signal compression effect that occurs when recording high-level signals onto analog tape.

Fig. 2 illustrates the mapping function in a different way. Input levels are shown on the left of the graph, while converted levels are shown on the right. Notice the mapping of large signal excursions to the 4dB Type IV Over Region. One might question the validity of such an approachtrying to represent a lot of signal information within a smaller space. The reason why this is not only valid but makes a whole lot of sense is that the digital codes in a converter are linear, or evenly-spaced, meaning that each consecutive code represents the same change in voltage of the input signal. This implies that half of the digital codes are used to represent input signals whose voltage level is below 1/2 of the full-scale A/D input voltage, while the other half of the codes are used to represent signals above 1/2 of the full-scale A/D input voltage. This seems reasonable until you realize that 1/2 of the full-scale input is only 6dB below full-scale! So half of the codes are used to represent only the top 6 dB of signal information, while the other half are used to represent the remaining 80 to 110dB of signal information, depending on the quality of the converter. It seems not only reasonable, but also desirable, to utilize the increased signal resolution afforded by this density of digital codes to represent more input dynamic range in this region. Another advantage of the logarithmic mapping of our dbx Type IV Conversion System is that it preserves the high-frequency detail of the signal in the overload region. Figs. 3a through 3d illustrate what happens when you overload an A/D converter without Type IV. Fig. 3a shows an input signal having both low-frequency and high-frequency components. When the signal overloads, or clips, (Fig. 3b) at the A/D converter, a disproportionate amount of highfrequency signal information is lost compared with the low-frequency information. The low and high-frequency components of the signal are separated in Fig. 3c to illustrate this more clearly. As you can see, the low frequency signal simply gets distorted but maintains most of its signal characteristics, while sections of the high-frequency signal are completely lost! With dbx Type IV, its mapping preserves high-frequency signal information, as illustrated in Fig. 3d, since the signal is confined within the Type IV Over Region and never clips. The dashed line indicates the original input signal level. Below the Over Region no mapping occurs, while above this, mapping keeps all peaks of the signal below the A/D clip level, thus preserving the high-frequency content of the signal.

Now youre probably wondering, Whats the catch? I cant get something for nothing so what did I give up? You may be worried that your A/D noise floor got 4dB worse because we borrowed the top 4dB of your converter. This is certainly a valid concern. Fortunately, we have the answer! Without going into the confidential technical details, by using our proprietary analog and digital Type IV processing, we reclaim the original A/D noise level! So what you get is free headroom! The benefits of the dbx Type IV Conversion System can easily be heard by switching it in and out while listening to signals with high-level peaks captured in the Type IV Over Region. You will notice an obvious audible difference. With Type IV bypassed, you cant help notice the harsh, edgy sound of the A/D converter clipping. With Type IV enabled, those nasty artifacts disappear revealing a more open and natural sound. With Type IV enabled, you will get a more accurate and pure representation of the original wide-dynamic-range signal. You will absolutely agree that we really do give you something for nothing. We give you peace of mind knowing that you never have to worry about clipping your A/D again! And when you listen to the noise floor of your A/D, youll realize that we never compromise your noise performance with Type IV! The dbx Type IV Conversion System succeeds in combining the best of the analog and digital worlds to capture the truest essence and fullest dynamic range of audio signals. Who else but dbx would bring you this technology!
Microphone Modeling Technique
All microphones were measured in a semi-anechoic environment using an Audio Precision System Two Cascade Plus. The microphones were measured at several different SPL levels and calibrated to a reference Earthworks M30 measurement microphone. Using proprietary algorithms, dbx engineering built models of the characteristics of all the mics found in the ProVocal. They then generated models of several popular dynamic microphones and built a model based on the typical response of these types of mics. A composite model can then be built which removes the characteristics of a typical dynamic mic and adds the characteristics of the desired microphone sound. Similarly, many popular condenser microphones were characterized to form a typical dynamic vocal microphone model. Again, a composite microphone model is formed to remove the characteristics of a typical vocal condenser microphone and then add the specific characteristics of the desired mic sound. All measurements were performed on-axis. As with any miking situation, microphone placement alters the response. Good mic technique is still essential to get the best possible sound. Also, choosing a good quality input microphone will improve your results. Finally, the age, condition, and even manufacturing variances can subtly alter the response of any microphone. Using dbxs proprietary modeling techniques, we have accurately modeled the mics in our collection. This technology is the most accurate way to represent the sound of these mics without actually spending thousands of dollars on your own collection.

Microphone Input Connector: Type: Impedance: Maximum Input Level: CMRR: Equivalent Input Noise: Gain Line Input (Rear Panel) Connector: Type: Impedance: Maximum Input Level: CMRR: Gain:

Specifications

Female XLR pin 2 hot Electronically balanced/unbalanced RF filtered 330, balanced -9dBu or +11 dBu with 20dB pad engaged >40dB, Typically 55dB at 1kHz Typically -120.2 dBu with a 150 source load, 20Hz to 20kHz BW +30dB to +60dB TRS 1/4" jack Electronically balanced/unbalanced 20k unbalanced, 40k balanced +18dBu balanced or unbalanced >40dB, Typically 55dB -15dB to +15dB TS 1/4" Jack Unbalanced 470k +18dBu unbalanced Male XLR pin 2 hot and TRS 1/4" Electronically balanced Balanced 120, unbalanced 60 >+18dBu into 100 k RCA 75
Instrument Input (Front Panel) Connector: Type: Impedance: Maximum Input Level: Analog Outputs Connector: Type: Impedance: Maximum Output Level: S/PDIF Digital Output Connector: Impedance: A-D System Performance A-D Conversion: Convertor Dynamic Range: Type IV Dynamic Range:
24-bit, dbx Type IV Conversion System 105dB typical, A-weighted, 22kHz bandwidth 102dB typical, unweighted, 22kHz bandwidth Up to 117dB with transient material, A-weighted, 22kHz bandwidth Up to 115dB with transient material, unweighted, 22kHz bandwidth Typically 109dB with program material, A-weighted, 22kHz bandwidth Typically 106dB with program material, unweighted, 22kHz bandwidth 0.002% typical at +4 dBu, 1 kHz, input gain at 0dB 20Hz to 22kHz, +0/-0.5dB 24-bit 103dB typical, A-weighted, 20kHz bandwidth 101dB typical, unweighted, 20kHz bandwidth 0.002% typical at +4 dBu, 1kHz, output gain at 0dB 20Hz to 20kHz, +0/-0.5dB < -85dB at 1kHz, output gain at 0dB DO: 120 VAC. 60Hz, 100 VAC 50/60Hz - EU: 220-240 VAC 50/60Hz 15 watts 1.75''Hx 5.75''Dx19''W 7.14 lbs. (3.24 kg)
THD+Noise: Frequency Response: D-A System Performance D-A Conversion: Dynamic Range: THD+Noise: Frequency Response: Interchannel Crosstalk: Power Supply: Operating Voltage: Power Consumption: Physical: Dimensions: Weight:
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8760 South Sandy Pkwy. Sandy, Utah 84070 Phone: (801) 568-7660 Fax: (801) 568-7662
Questions or comments? Email us at: customer@dbxpro.com or visit our World Wide Web home page at: www.dbxpro.com
18-0448-C ProVocal User Manual