dbx 290 User manual

Stereo
Reverb
dbx

Table of Contents
Safety and Warranty . . .. ..............................2
Introduction and Inspection ............................3
Setup
Front Panel 4
Back Panel ....................................5
Connections 6
Operation
Selecting Reverbs ................................8
Bypass Mode 9
Noise Gate 9
MIDI 10
Reverb Types
What is Reverb? 12
Room 12
Hall 12
Chamber 12
Plate 13
Cathedral 13
Gated 13
Specifications . 14

Safety and Warranty
Safety
Warranty
The symbols shown at left are
internationally accepted symbols
that warn of potential hazards
A ,"'"'''' A
ATTE NTIO N:R,sOUE DECHOCELECTR'OUE·HEPAS OUYRIR
with electrical products. The
WA RNIN G: TO REDUCE THE RISKOFFIREOR ElECTRIC lightning flash with arrowpoint in
SHOCKDONOTEXPOSETHIS EQUIPMENTTORAINOR MOISTURE
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 owner's 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 manufacturer's warranty. Do
not get the 290 wet. If liquid is spilled on the unit, unplug it
immediately and take it to a dealer for service. Disconnect the
equipment during storms to prevent damage.
-----* •• _--
1. The warranty registration card must be mailed within 30 days after
purchase date to validate this warranty and proof-of-purchase is con-
sidered 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 nor-
mal use and service.
3. dbx liability under this warranty is limited to repairing or 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 may be obtained from dbx by tele-
phone . 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 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 for it
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 consequen-
tial damages or from any delay in the performance of this warranty
due to causes beyond their control.

Introduction and Inspection
Introduction
We congratulate and thank you for your purchase of the dbx 290 Stereo
Reverb.
The 290 is a true stereo, dedicated reverb processor designed
for the professional
who needs high quality results without the chal-
lenges
of complex programming. Whether used in the recording studio
or in live
sound situations, world class reverbs are just a button press
away.
The 290 also includes unheard of signal to noise specifications for
products in its price range along with a digital noise gate that pushes
unwanted noise even further out of the audio picture. Some of the 290's
features include:
• True stereo reverb processing
..
• Signal to noise ratio of greater than 90dB
(w/o noise gate)
• 40kHz sampling rate, 18 bit DACs, full
bandwidth response
• Balanced Stereo Inputs and Outputs
• Hundreds of professional quality reverb possibilities
• Receives MIDI program
changes
Although the dbx 290 was designed to be the easiest reverb on the mar-
ket to use,
we suggest that you read this operation manual to fully
understand
the 290's power. We have kept the manual simple and easy
to read so that you can get back to work quickly.
We
hope you enjoy your 290 and thanks again for purchasing a quality
dbx product.
-----.-----
Inspection
Before continuing any further, please inspect the contents of the dbx 290
box to be sure that the following items are included :
•
dbx 290 Stereo Reverb
• External
power supply
• Operation Manual (yes, you are already reading it)
• RegistrationlWarranty card
If anything is missing, please notify
your dealer.
The information contained in this manual is subject to change at any
..
time without notification. Some information contained in this manual
may also be inaccurate due to undocumented changes in the product or
operating system since this version
of the manual was completed .
Stereo
-
= ~ •• • 8~.0m ~ ~ ~ ~
3

Setup
Front Panel
2 3 45 6 78
1) Type Buttons -Used to select one of six different reverb Types. The
LED inside the selected bunon lights to indicate the current reverb
Type being used.
2) Size/Gate Shape Buttons -Used to select one of three different
reverb Sizes or Gated Shapes if the Gated reverb Type is selected.
The LED inside the selected bunon lights to indicate the current
reverb Size or Shape being used.
3) Color Buttons -Used to select one of three different reverb Colors.
The LED inside the selected bunon lights to indicate the current
reverb Color being
used .
4) Decay Control -Sets the length of the reverb's decay. Turning this
control clockwise increases the decay time while turning the control
counter-clockwise decreases the decay time.
There are 12 different
times available (times are
dependent on reverb Type and Size current-
ly selected).
5) Input Level Meters -These LEDs monitor the levels of the incoming
signals which
can be adjusted using the Input control.
6) Mix Control -Controls the wet/dry signal ratio. Turning the control
clockwise increases
the amount of reverb sent to the outputs while
decreasing the original dry signal heard. Turning the control counter-
clockwise decreases the amount of reverb sent to the
outputs while
increasing the original dry signal heard.
7) Input Level Control -Adjusts the level of the sound sourc~ being
fed into the 290's stereo inputs. For best signal performance, set
these controls so that -0- LED on the input
meter lights occasionally.
If this control is set
too high, unwanted distortion may be heard in the
output signals.
8) Output Level Control -Sets the stereo output level of the 290. This
control
can be placed in a mirror sening for near unity signal gain
through the processor (e.g, Input Level control set at a 2 o'clock posi-
tion
and the Output Level control set at a 10 o'clock position).

Setup
Back Panel
23456 7 8
1) Left/Mono Input -This is the audio input for the left channel of the
290. It can be used in either balanced ernS) or unbalanced (TS)
- applications. For
mono input configurations, use the Left Input jack
only
and leave the Right Input jack di sconnected .
2) Right Input -This is the audio input for the right channel of the 290.
It can be used in either balanced (TRS) or unbalanced (TS) applica-
tions. For
mono input configurations, the Right Input jack must be
disconnected.
3) Left/Mono Output -This is the audio output for the left channel of
the 290. It can be used in either balanced (TRS) or unbalanced (TS)
applications. For
mono output configurations, use the Left Output
jack only and leave the Right Output jack disconnected .
4) Right Output Jack -This is the audio output for the right channel of
the 290. It can be used for either balanced (TRS) or unbalanced (TS)
applications.
The Right Output jack is used for both stereo in/stereo
out and mono in /stereo out configurations. For mono output configu-
rations,
the Right output jack must be disconnected .
5) Remote Footswitch -Allows the connection of an external momen-
tary footswitch (Tip-Sleeve plug) for remotely placing the 290 into
bypass
mode (indicated by flashing the selected Type /Size /Color
LEDs). A three switch type pedal (Tip-Ring-Sleeve plug) may also be
used to add Program up and Program down capabilities.
6) MIDI Input - The MIDI In port allows the 290 to respond to incom-
ing MIDI program changes.
7) 290 Serial Number - This is the 29O 's unique registration serial num-
ber .
8) AC Power Adapter Input -This is where the AC power adapter is
connected . Warning: Use only the Power Adapter supplied with the
290 from the factory. Using any other Power Supply may permanent-
ly damage the 290.
5

Setup
Connections Correctly connecting audio
and power to any signal processor is the
most important step towards successful audio processing. Please follow
these steps carefully for best results:
1. Turn off all equipment before making any connections
2. Mount the 290 in a rack. (optional)
The 290 requires only one standard rack space. It can be mounted
above or below anything that doesn't generate excessive heat, since it
requires no special ventilation. Ambient temperatures should not
exceed 113·F (45·C) when equipment is powered.
3. Make audio connections via 1/4" phone jacks according to your
requirements.
Although the 290 is a true stereo reverb processor, it can also be used
in a mono in!stereo out or mono in /mono out configuration. The
290 configures itself by sensing whether or not plugs are inserted into
the Right Input and Right Output jacks.
For mono input applications, use the Left Input jack only. For stereo
input applications, use both Left and Right Input jacks.
Likewise, for mono output applications, use the Left Output jack only.
For stereo output applications, use both Left and Right Output jacks.
Typically, the 29O 's inputs are connected to the auxiliary sends (some-
times called effect sends) of a mixing console. The 290's outputs are
then connected to the effect returns on the console . For best results,
a stereo effect return should be used . See figure 1-1.
Figure 1-1
The 290 can also be used in a keyboard setup as in figure 1-2 or in a
guitar rig as in figure 1-3.

--
Setup
..
Figure 1-2
Figure 1-3
4. Connect the AC power supply (shipped with the unit) to the
rear panel jack labeled POWER and then plug the AC power
supply to an appropriate AC power source.
The 290, like any piece of computer hardware, is sensitive to voltage
drops, spikes,
and surges. Interference such as lightning or power
"brownouts" can seriously, and in extreme cases, permanently dam-
age the circuitry inside the unit.
• Spike/Surge Suppressors - This is an inexpensive solution to
all but the severest of AC line dangers. Surge protected
power
strips usually cost only slightly more than unprotected strips,
making them a worthy investment for protection of all
your
valuable gear.
• AC Line Conditioners - This is the best
way to go for total pro-
tection from improper line voltages, albeit
the more expensive
way. Line conditioners constantly monitor for excessively high
or low voltages
and adjust accordingly, thus delivering consis-
tent
power levels.
To help
keep things quiet, be sure to keep audio lines as far away
from power lines as possible. If it is necessary to cross audio and AC
lines, cross them perpendicular to
one another . As a rule, never
allow parallel audio and AC lines to lie close to each other .
5.
Power may now be re-applied to your other equipment.
Stereo
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Operation
Selecting Reverbs The 290 has
been designed to make reverb selection as quick and easy
as possible. Reverbs are divided into four parts:
• Type -Six standard reverbs are available in the 290: Room, Hall,
Chamber, Plate, Cathedral, and Gated. These are described further
in the Reverb Types Section (page 12).
• Size/Shape - There are three possibilities available: Small, Medium,
and Large. This parameter changes the overall size or volume
(width x length x height) of the room. It also affects the reverb
decay setting since smaller enviroments produce shorter decay
times. Larger spaces typically produce longer decays.
If the Gated Reverb is selected, these buttons choose one of three
different Linear reverb Types:
1) .. .... ",,"11111111 -Reverse lin ear reverb. Gives the illusion that the signal
is being played in reverse since the reverb energy builds up
instead of decays.
1) 111111111111111111111 -Gated linear reverb. Emulates the sound of a high
energy reverb being cut off by a gate before it has a chance to
decay completely.
1) 111111111111'10,... . - Normal linear reverb. Contains lots of energy but
decays quickly, making it ideal for small live room emulation.
• Reverb Color - There are three ambience colors to choo se from:
Dark, Medium and Bright. This control does more than just make
simple equalization changes to the reverb; it also changes room
damping and high frequency reverb decay roll-offs. Each reverb
Type uses its own set of colorations, while the Medium setting is
usually considered the least colored .
• Reverb Decay -Sets the decay time of the reverb and is dependent
on the the reverb Size selection. Let your ears be the judge as to
how much reverb decay you need for your application.
Simply press the buttons associated with the desired reverb Type,
Color/Shape and Size. The reverb decay Time can be adjusted using the
Decay control at any time. The 290 also remembers the last used set-
tings even after the unit is powered down .

• • •
Operation
To place the 290's reverb into Bypass mode , press and hold the [ROOM]
and [CHAMBER] reverb Type buttons simultaneously. Bypass mode is
indicated by the flashing LEDs of the currently selected Type /Size/Color
buttons. Pressing any button will exit the Bypass mode (along with
changing the setting if a new Type/Size /Color is selected). An external
footswitch can also be used to enter or exit the Bypass mode.
NOTE: Bypass mode affects only the wet portion of the Wet/Dry signal
(this means that Bypass acts as a reverb mute ).
-----*-----
The dbx 290 includes a digital noise gate to push the noise floor down ,
ensuring that the 290 is at its quietest when sitting idle (the most impor-
tant time to be quiet). The noise gate is located just before the 290's
reverb, which the means reverb's decay never gets prematurely cut off.
Threshold is the one parameter that may need adjustment in your partic-
ular application. This is the level at which the gate will open. Threshold
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, Level 3 (highest threshold)
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• 0 0 0 Lavel 0 (off)
is set by doing the following:
• Simultaneously press and hold the [SMALL] and [LARGE] Size but-
tons until their respective LEDs light.
• The current threshold setting is displayed using the reverb Type
LEDs in the following manner :
• To choose a new Threshold setting, Simply select one of the first
four Type buttons for the desired level.
The 290 pauses briefly to show your selection and then returns to
normal operation mode .
The purpose of the noise gate is to eliminate unwanted noise in the
absence of program material at the 290's inputs. Unwanted noise usually
come s from other not-so-quiet pieces of equipment. By using the gate,
Bypass Mode
Noise Gate
Stereo
-
Rever bJ lJIJe .
.. .9

the noise can be eliminated when it is most offensive (when there is no
program material to cover up the problem) .
The noise gate can be disabled by choosing level 0 (off).
MIDI
-_ ••• * •. _--
MIDI program changes can be received on any MIDI channel to select
different reverb settings
on the 290. The 290's MIDI channel is set by
doing the following:
• Simultaneously press
and hold the [DARK] and [BRIGHT] Color but-
tons until their respective LEDs light.
•
The current MIDI channel setting is displayed using the reverb
Type and Size LEDs in the following manner :
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d.1 ~2 C~3 C~4 ~5
C/17 C/18 Ch 9 Ch 10 C/111
C/113 C/114 C/115 C/116 Omni
. ~lIZl/un 1NUIc=i-- taLDltc:=:---
C~6 •.. ....... .i I :
C/112 . ....··..·........··-··..
Off ..'
To change the currently selected MIDI channel :
• Select
one of the three Size buttons.
• Select
one of the six Type buttons for the new desired channel.
The 290 pauses briefly to show your selection and then returns to
normal
operation mode.
Once the MIDI channel is correctly set , the 290 will respond to
Continuous Controller
and Program Change commands. To set the dif-
ferent reverb
decay times using MIDI, the 290 re sponds to MIDI
Continuous Controller #1
on the selected MIDI channel. The 290 has 12
different
decay times (actual decay times depend on the reverb Type and
Size selected) that can be selected using these specific Continuous
Controller values:
CCl Value
o
1-12
13-127
Selection
Use current reverb Decay control position
Select
position 1-12
Ignored
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Operation
The list below shows how different reverb settings can be recalled using
Program Changes. Program Change
command -0- toggles the 290's
Bypass
mode status. Program changes -1- to -54- can also be used to exit
the Bypass
mode and select a new setting (if so desired). Any Program
Change higher than -54- will be ignored by the 290.
Prg#
~
Size
Qllill:
~
~
SiR
~
0 Bypass (Toggle
On/Off)
1 Room Small Dark 28 Plate Small Dark
2 Room Small Med 29 Plate Small Med
3 Room Small Bright 30 Plate Small Bright
4 Room Med Dark 31 Plate Med Dark
5 Room Med Med 32 Plate Med Med
6 Room Med Bright 33 Plate Med Bright
7 Room Large Dark 34 Plate Large Dark
8 Room Large Med 35 Plate Large Med
9 Room Large Bright 36 Plate Large Bright
10 Hall Small Dark 37 Cathdrl Small Dark
11 Hall Small Med 38 Cathdrl Small Med
12 Hall Small Bright 39 Cathdrl Small Bright
13 Hall Med Dark 40 Cathdrl Med Dark
14 Hall Med Med 41 Cathdrl Med Med
15 Hall Med Bright 42 Cathdrl Med Bright
16 Hall Large Dark 43 Cathdrl Large Dark
17 Hall Large Med 44 Cathdrl Large Med
18 Hall Large Bright 45 Cathdrl Large Bright
19
Chmbr Small Dark 46
Gated
Rise Dark
20
Chmbr Small Med 47 Gated Rise Med
21
Chmbr Small Bright 48 Gated Rise Bright
22
Chmbr Med Dark 49 Gated Flat Dark
23
Chmbr Med Med 50 Gated Flat Med
24
Chmbr Med Bright 51 Gated Flat Bright
25 Chmbr Large Dark 52 Gated
Decay Dark
26 Chmbr Large Med 53
Gated
Decay Med
27 Chmbr Large Bright 54 Gated Decay Bright
Note: Program changes 1 through 54 will also exit Bypass mode .
.11

Reverb Types
What is Reverb?
Reverberation, or room ambience, occurs when acoustic energy is reflect-
ed off room surfaces, materials and objects. Using reverberation in
recorded program material gives the listener a sense that the material is
being performed in an actual room or hall. It is this similarity to actual
acoustic spaces that makes reverberation a useful tool in recorded music.
The 290 also uses early reflections to get a better emulation of the natur-
al
sound of a room. Early reflections are short clusters of direct reflec-
tions from the closest walls in the room.
The 290 includes several different types of reverb. Some are very natural
sounding environments, while others are not-so-natural sounding.
~oom
-----*-----
The Room is the most basic environment because we actually hear
rooms. Usually rooms are smaller environments
and because their walls
are closer together, early reflections are heard more prominently while
the overall length of the reverb decay is quite short.
Natural small room
amb iences will work wonder s in trying to bring ster-
ile, dry musical instrument samples back to life (like
drum samples for
example). Small rooms also
help thicken up sounds without adding a
lot of long decay reverberations.
ia ll
--_ .. -----
Halls almost fall into the special category of unnatural ambiences
because they are designed
and treated with certain sound reflection char-
acteristics. Performance halls are built with the goal
of getting the sound
off the performance stage as cleanly and loudly as possible. Early reflec-
tions are practically non-existent while the reverb decay of the environ-
ment is extremely smooth
and transparent.
Halls are ideal for
the instruments they were designed for like strings ,
pianos, orchestras,
etc . The transparent quality of the decay makes halls
one of the most commonly used ambiences in recording.
thc rn oer
-----.-._--
Many recording studios have tried to emulate hall environments by build-
ing special
sound chambers. These small rooms have unique wall angles
and surfaces. Sound is fed into the room through a speaker and the
reflections are retrieved with
one or more microphones. Early reflections
in these rooms are quite strong
and even but because the room is small,
the reverberation decays
more quickly than in a real hall.
Although
not a perfect emulation of the hall, the chamber has become a
preferred
ambience for multi-tracked recordings that need reverb. Since
db! t
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Reverb Types
the chamber 's decay tend s to get out of the way more quickly than the
hall's, the chamber is ideal for vocals and /or instrumental parts that tend
to get stacked during recording. Chambers are also very useful for more
percussive, upbeat styles of music.
-----*----
Plates are another attempt to artificially emulate natural ambiences that
have instead become accepted for their own unique sound . Plate
reverbs are made with large sheet of metal suspended in a box . Sound
is induced at one end of the metal sheet with transducers that cause the
metal to vibrate. Pickups at the other end of the metal receive the multi-
ple reverberations.
The results are quite unique . The Plate reverb has a slight metallic quali-
ty that makes instruments and voices sound a little brighter and thus
more present. Reverb plates have a very thin, smooth high end while
the low end is more dense. These characteristics work well for percus-
sion instruments. ---_.*-----
The most natural and familiar environment is probably that of the cathe-
dral or church. Often large churches are built for the purpose of hous-
ing visual ornamentation and seating large groups of people for worship.
By the sheer size of these rooms and the amount of people in them (or
sometimes how empty they were), cathedrals and churches all over the
world have become famous for their unique sound qualities.
These large rooms usually have a great deal of early reflection energy
(because of smaller pulpit areas) while the reverb itself is very rich in the
lower frequencies (because of the large room's ability to sustain low fre-
quency energy). The cathedral reverbs make anything sound big,
whether it's an organ with a choir or a thunder clap .
--_._*-----
Linear reverberation, or gated reverbs as they are more commonly ref-
ered to, are the most unnatural ambiences used on a regular basis.
Originally, large dense reverbs were cut off using a noise gate .
Eventually, it was discovered that using very linear reverbs with no
regeneration produce the same type of sound with even more flexibility .
Since the decay is linear, the shape of the reverb can be changed. Using
the flat setting gives you the familiar gated reverb sound . The reverse
setting ramps the energy from its lowest point up , making things sound
almost backwards. The normal ramp down setting can be used as stand-
alone early reflections to emulate very small, intense rooms .
Plate
Cathedral
Gated
Stereo
-
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dbx 290 Stereo Reverb
AID Converter: 16 bit PCM
D/A Converter: 18 bit PCM
Sampling Frequency: 40 kHz
DSP Section:
Architecture:
Digital Signal Path Width:
Internal Data Path Width:
Dynamic Delay Memory:
Static Delay Memory:
Data ALU Processing:
Address ALU Processing:
Multiplier Size:
Input Section:
Static-Dynamic Instruction Set Computer
(S-DISCTM)
24 bits (144.5 dB)
.48 bits (289
dB)
64k x 20 bits (1.68 seconds)
256 24-bit registers (6.55 milliseconds)
10.0 MIPS
15.0 MIPS
24 bits x 24 bits
Connector : 1/4" Balanced TRS
Nominal Level: +4 dBu
Maximum Level: +18 dBu
Impedance : 20 kohms
Output Section:
Connector : 1/4" TRS
Nominal Level: +4 dBu
Maximum Level: +18 dBu
Impedance: 470 ohms
General:
Frequency Response: 20 Hz. - 20 kHz . +0, -3 dB
SIN ratio: Greater than 90 dB; ref = max signal, 22 kHz measurement
bandwidth
Total Harmonic Distortion: Less than 0.02% (1 kHz.)
Power Requirements:
US
and Canada:
Japan:
Europe:
UK:
120 V ac, 60 Hz
100 V ac, 50/60 Hz
230 V ac, 50 Hz
240 V ac, 50 Hz
For other countries, check with local distributors
Power Consumption: 15 watts
Dimensions: 19" W x 1.75" H x 4.25" D
(482mm x
44mm x 107mm)

Specifications
Function .•. Transmitted Recognized Remarks
Basic Default
Channel Channel 1-16
1-16 1-16
1-16 Memorized
Default
Mode Messages
Altered
Mode 3
X
X
Mode 3
X
X
Note
Number True Voice X X
Velocity Note ON
Note OFF X
X X
X
After Key's
Touch Ch's X
X X
X
Pitch Bender X X
Control
Change 0 0 Same as Basic Channel
CC#10nly
Prog
Change True # 0-127 0-54
0-54
System Exclusive X X
System :Song Pos
:Song Sel
Common :Tune
X
X
X
X
X
X
System :Clock
RealTime :Commands X
X X
X
Aux :LocaION/OFF
Mes- :AII Notes Off
sages :Active Sense
:Reset
X
X
X
X
X
X
X
X
Notes
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO
O:Yes
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
X:No
Stereo
Reverb 'JtJ/'J
' --
75

x
dbx Professional Products
8760 South
Sandy Parkway
Sandy, Utah 84070 USA
Tel: (80l) 566-8800
Fax: [phone]
dbx International Sales
3 Overlook Drive Unit 4
Amherst, New Hampshire
03031 USA
Tel: [phone]
Fax: [phone]
Manual Version: 1.00
Part Number: 18-1630
I Polska
p. ZO.O
0 2 - 4 ~5 W r· .
tel. (22\ ~ _ . 'Ii , ut. Regulska 5
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,
Regon 0155 3.1 f k~ ;'" ~ 66 -77-333
-
WWw.audlofoh. 'I tn /j.~:: ~ , NIP522-26-94-508
, ( '1/' [e-mail]