Sony DPS-R7 User manual

SONY
Digital
Reverberator
perating Instructions
DPS-R7

WARNING
FOR CUSTOMERS IN THE UNITED STATES
Owner’s Record
The model and serial numbers are located on the left side.
Record these numbers in the spaces provided below.
Refer to these numbers whenever you call upon your Sony
dealer regarding this product.
Model No. DPS-R7 Serial No.
To prevent fire or shock hazard, do not
expose the unit to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
This symboi! is intended to alert the
user to the presence of uninsulated
“dangerous voltage” within the prod-
uct’s enclosure that may be of suffi-
cient magnitude to constitute a risk of
electric shock to persons.
This symbol is intended to alert the
user to the presence of important
operating and maintenance (servicing)
instructions in the literature accompa-
nying the appliance.
\
For detailed safety precautions, see the leaflet
“IMPORTANT SAFEGUARDS”.
2
INFORMATION
This
equipment
generates
and
uses
radio
frequency
energy
and if not installed and used properly, that is, in strict
accordance
with
the
manufacturer’s
instructions,
may
cause
interference to radio and television reception. It has been
type
tested
and
found
to
comply
with
the
limits
for
a
Class
B
computing
device
in
accordance
with
the
specifications
in
Subpart J of Part 15 of FCC Rules, which are designed to
provide
reasonable
protection
against
such
interference
in
a
residential
installation.
However,
there
is
no
guarantee
that
interference
will
not
occur
in
a
particular
installation.
If
this
equipment does cause interference to radio or television
reception, which can be determined by turning the
equipment off and on, the user is encouraged to try to
correct the interference by one or more of the following
measures:
Reorient the receiving antenna
Relocate
the
equipment
with
respect
to
the
receiver
Move the equipment away from the receiver
Plug the equipment into a different outlet so that
equipment and receiver are on different branch circuits.
If necessary, the user should consult the dealer or an
experienced radio/television technician for additional
suggestions. The user may find the following booklet
prepared by the Federal Communications Commission
helpful:
“How to Identify and Resolve Radio-TV Interference
Problems”’. This booklet is available from the U.S.
Government
Printing
Office,
Washington,
DC
20402,
Stock
No. 004-000-00345-4,
e
The
shielded
interface
cable
recommended
in
this
manual
must
be
used
with
this
equipment
in
order
to
comply
with
the
limits
for
a computing
device
pursuant
to
Subpart
J
of
Part
15
of
FCC
Rules.
FOR CUSTOMERS IN CANADA
CAUTION:
TO PREVENT ELECTRIC SHOCK, DO NOT USE THIS
POLARIZED
AC
PLUG
WITH
AN
EXTENSION
CORD,
RECEPTACLE OR OTHER OUTLET UNLESS THE
BLADES
CAN
BE
FULLY
INSERTED
TO
PREVENT
BLADE EXPOSURE.
This apparatus complies with the Class B limits for radio
noise
emissions
set
out
in
Radio
Interference
Regulations.

FOR CUSTOMERS IN THE UNITED KINGDOM
WARNING
THIS APPARATUS MUST BE EARTHED
IMPORTANT
The wires in this mains lead are coloured in accordance with
the following code:
Green-and-yellow: Earth
Blue: Neutral
Brown: Live
As the colours of the wires in the mains lead of this
apparatus may not correspond with the coloured markings
identifying the terminals in your plug proceed as follows:
The wire which is coloured green-and-yellow must be
connected to the terminal in the plug which is marked by the
letter E or by the safety earth symbol + or coloured green or
green-and-yellow. The wire which is coloured blue must be
connected to the terminal which is marked with the letter N
or coloured black. The wire which is coloured brown must be
connected to the terminal which is marked with the letter L
or coloured red.
Precautions
On Safety
e To avoid electrical shock, do not open the cabinet. Refer
servicing to qualified personnel only.
e Before connecting the unit to the power source, check that
the operating voltage of your unit is the same as the local
power line voltage. The operating voltage is indicated on
the nameplate on the left side of the unit.
« Should anything fall into the cabinet, unplug the unit and
have it checked by qualified personnel before operating it
any further.
e If the unit will not be used for an extended period, unplug it
from the wall outlet. To disconnect the cord, pull it out by
the plug. Never pull the cord itself.
e The unit is not disconnected from the mains (AC power
source) as long as it is connected to the mains outlet, even
if the unit itself has been turned off.
suolnesaig /HuWweR
On Installation
e Allow adequate air circulation to prevent internal heat build-
up.
e Do not place the unit on a surface (rugs, blankets, etc.) or
near materials (curtains, draperies, etc.) that may block the
ventilation holes.
e Do not install the unit near heat sources such as radiators
or air ducts or in a place subject to direct sunlight,
excessive dust, mechanical vibration or shock.
e The unit is designed for operation in a horizontal position.
Do not install it in an inclined position.
e Keep the unit away from equipment with strong magnets,
such as microwave ovens or large loudspeakers.
«Do not place any heavy object on the unit.
On Operation
e When the unit is not in use, turn the power off to conserve
energy and to extend its life.
On Cleaning
e Clean the cabinet, panel and controls with a dry soft cloth,
or a soft cloth slightly moistened with a mild detergent
solution.
e Do not use any type of solvents, such as alcohol or
benzine, which might damage the finish.
On Repacking
e Do not throw away the carton and packing materials. They
make an ideal container to transport the unit.
If you have any questions about the unit, contact your Sony
service facility.
CAUTION!
Danger of explosion if battery is incorrectly replaced.
Replace only with the same or equivalent type
recommended by the equipment manufacturer.
Discard used batteries according to manufacturer's
instructions.
3

-: Table of Contents
er
eel
WANING 228 scsasessetiestustteitcteas Leasctdeseca ee cadescoctnele tesseatedactas eines 2
PRECAUTIONS = 6.5632 065 hedeecostd oh ccehecheitaetsedeirtatarh seutesebvesvenae cores 3
Chapter 1 Getting Started
Overview of the DPS-R7. .......cccecscscssssssssesescessssceeseesesrsssess 5
Hooking Up a System 0... ceeeecsescsssssesecesesesssessscseseseseeeeeens 6
Fundamental Connections as an Effector ..........ccc 6
Fundamental Connections for Recording ..........0cce 6
Identifying the Parts 0... esseccssssssseseseseesssssessessesecseeserseees 7
Chapter 2 Operation at a Glance
Let’s Try to Operate Your DPS-R7 .......ccccscccsssesesesetesseseeees 9
Selecting a Preset Effect oo... .ccccsesessssssesssescssesescsssasseeees 9
Chapter 3 Parameters of Each Block
Overview of the Signal Processing BIOCKS ..........ccceeees 10
General Block Diagram .........ecccsssessssssssesssssesesssesseeeseeeees 10
WAPUt BIOGK 26. cscceesdecacessasvdaa cies cc sesctondsistscavondeeudSiessetessisbuoetes
Pre-effect Block
Algorithm 1 Phase Shifter PHS oc eeee
Algorithm 2 Flanger FLG oo... cecceseseseseseseseseeteeseee
Algorithm 3 Stereo Equalizer SEQ
Algorithm 4 Stereo Exciter + Stereo EQ (Equalizer)
SXE ... 17
Algorithm 5 Monaural Exciter + Monaural EQ (Equalizer)
MxE .. 18
Algorithm 6 Gate GTE wc cceccesesesessesesesseecssssenes 19
Reverberation Block .......ccccccsscssssssesessssssssscseesssssesesesevseeees 21
Stereo-in/stereo-out (ST/ST) type and monaural-in/
stereo-out (MONO-ST) type uo. cecccsesesesccseseeseseeseseees 21
Concerning the Parameters ......cccccsecsesssessesseesesseeesseens 21
Reverberation Parameters .........cccccceccecsscscssesseseesssesees 21
Gate Reverberation Parameters ........ccccceseseeteeseesereres 22
Reverberation Block (1) — REVC BIOCK u....cccccceeeseeeeeees 23
Reverberation Block (2) - REVS Block .........ccceesesesseeres 24
Algorithm 1 Hall Reverberation (ST-ST) — HLR ......... 24
Algorithm 2. Room Reverberation (ST-ST) RMR .... 25
Algorithm 3 Plate Reverberation (ST-ST) PLR ....... 26
Algorithm 4 Gate Reverberation (ST-ST) GTR. ....... 27
Algorithm 5 Early Reflection (ST-ST) ERF ww. 28
Reverberation Block (3) - REV1 and REV2 Blocks ........... 29
Algorithm 6 Plate Reverberation (MONO-ST)
PLR ... 29
Algorithm 7 Gate Reverberation (MONO-ST)
GTR .. 30
Algorithm 8 Early Reflection (MONO-ST) — ERF ....... 30
Algorithm 9 Delay 1(MONO-ST) DL1 uw 31
Algorithm 10 Delay 2(MONO-ST) DL2.... 32
Post-effect BIOCK oo... eescsesessessscsesescecscssscsesesesesssesstsseseees 33
Algorithm 1 Phase Shifter PHS ose 33
Algorithm 2) Flanger FLG wi ccsesssessesensceseeeeeeees 33
Algorithm 3 Stereo Equalizer SEQ ou... eee 34
Algorithm 4 Stereo Exciter + Stereo EQ (Equalizer)
SXE ... 34
Algorithm 5S Monaural Exciter + Monaural EQ (Equalizer)
MXE .. 35
Algorithm 6 Gate GE oo ceseseesetssetseseseeees 36
Algorithm 7 Auto Panner APN ..0...ceeeeeesesesesesesees 37
OUtp—Ut BlO CK aia: sas etecscestecctieeaceocesttieelst aed RbR or cleo 38
4
Other BlOCKS 2..0nn ttn needy din acne 39
LOL MIDUBIOGK siscccccesiscisccesnstsssisavesvaigeizatvenesvsnevaccasdieveses 39
Applications for LCL. MIDI uu... cc csssccestesscceseeesenenes 39
SYSteM'BIOCK a5. s sci esdelsssseeteinnde teers eaves mites 40
Memory: BIOCK seicusiiss sas ccittsacccrechovnidadninencaGalintedan 41
SYS. MIDI BIOCK oo... eecececscsesessesscscsesesessssesevesessssvacsceeecseees 4
B.Load (Block Load) BIOCK ........cccccssescsseseescseseresereres 42
Chapter 4 Operation
Calling Up a Memory (LOAD) .....c.cccececsscsssesesescseseseecsesesnees 44
Changing the Effects (EDIT) wie ecccseceseseseescessssseresees 45
Important Points for Editing... cecscsssceseceseeesens 47
Saving the Changed Effects (SAVE) ......cccsccceseseseeneeens 48
Appendix
A. MIDI Implementation Chart .......0cccccccesecseccsseseeee 50
B. Parameter Variation Range for LCL.MIDI Block ...... 54
C. Classification Chart for Editing
D. Specifications
E. Troubleshooting
Fig GIOSSANV as svetreseoiSiecccasdtesseoectavi orcces acevaveivivedeuaeaaedey
G. BOCK Diagram oo... .cceseseesesesesessescsessscsestsassssssseseesseees

Overview of the DPS-R7
The DPS-F7 is a digital reverberator equipped entirely with
Sony’s digital and audio technology at its highest level of
sophistication which was released before with the Digital
Reverberator, DRE-2000 and MU-R201 and achieved much
appraisal.
Quality-conscious design - A/D and D/A high
performance converter
The DPS-R7 converts the incoming analog signal to a digital
signal, passes it through various effects, then
re-converts it to an analog singnal before output. The
determinant to the sound quality is the conversion
mechanism that adopts the 18-bit oversampling stereo A/D
converter and the pulse D/A converter of 40.96 MHz. These
account for highly accurate, less deteriorated effects.
User-friendly and comfortable operation
The large size backlit LCD of 40 characters by 2 lines makes
it possible to proceed with smooth operation while viewing
the operating condition in real time. Moreover, the LCD
display incorporates an on-line manual (in English) which
displays information required for operation.
Abundant preset memory settings
The unit has a hundred variations of the effects created by
musicians, sound mixers and acoustic engineers around the
world in its preset memory. This will help you select and
replay immediately the desired effects for a particular
purpose.
Sound creation of any kind
The EDIT function allows you to modify the presets or to
create some individual effects. Besides the preset memory
for a hundred effects, the unit has a so-called user memory
where you can save up to 256 effects you are going to
create. Using this memory allows more varicolored play of
effects,
Wide range of effects
The DPS-R7 consists mainly of a reverberation block
together with an input block, a pre-effect block, a post-effect
block and an output block for signal processing.
For Processing signals with stereo-input/stereo-output in the
reverberation block, one of 5 types of ST-ST algorithms is
available, while the monaural-input/stereo-output processing
allows you to take any two types of MONO-ST algorithm.
One of the six types of algorithms can be used in the pre-
effect block and one of seven in the post-effect block.
By combining these blocks and algorithms used in the
blocks, a wide range of effects will be able to be created
according to the input source.
Remote control
The remote commander (not supplied) makes it possible to
remotely control the unit.
2 types of I/O connectors are provided
The DPS-R7 has XLR connectors (balanced-type) and
phone jacks so that it can be connected to instruments,
recording equipment or PA (public address) equipment.
Linkage with MIDI equipment
The MIDI device incorporated in the DPS-R7 can receive
program change signals from another MIDI equipment
connected so that the DPS-R7 can be controlled by the MIDI
equipment connected. Thus, it can function as an effector
when connected to digital instruments. In addition, controls
from PC’s or MIDI sequencers are very helpful for
composition.
GETTING STARTED 5
LU-Sd0 3Y} JO MAJAIBAQ/SJUIUOD JO qe y

Hooking Up a System
Turn all the power off before making connections, and
connect the AC power cord last.
Keyboard
.” Active Speakers ey
we :Signal flow
1. Connect a keyboard to the INPUT jacks, or the MIDI IN
connector.
2. Connect active speakers to the OUTPUT jacks.
3. Insert the AC power cord firmly into the AC IN jack.
4. Connect the AC power cord to a wall outlet.
For models equipped with a voltage selector
Check to confirm that the voltage selector is set to the local
power line voltage. If not, set the selector to the correct
position before connecting the AC power cord to a wall
outlet.
Notes:
« Be sure to insert the plugs firmly into the jacks. Loose connection
may cause hum and noise.
e Leave a little slack in the connecting cord to allow for inadvertent
shock or vibration.
« Connect the AC power cord last.
¢ Connections with some equipment of which the output capacity is
very high may result in sound distortion. When this happens, turn
the INPUT control to lower the input level, or turn the output fevel
of the equipment connected to the DPS-R7.
6 GETTING STARTED
meine r-lan-al elm Crelalicrea elit mie)mat-reelaeliate|
Speakers
Microphone
cc ‘Signal flow
Notes:
« !f only one channel is used, connect it to the INPUT CH1 and set
the input mode in the System block to “mono”.
See page 40.
This allows you to obtain the same result as you do when the
mode is set to “stereo” and the same signal is input both to the
INPUT CH1 and INPUT CH2.
¢ Be sure to input the signal with the reference level of +4 dB to the
XLR-3-31 connector,
¢ Since the reference level of phone jack is set at — 10 dB, any input
signal exceeding the maximum input level of +10 dB causes
clipping to the amplifier before the input volume and sound may be
distorted.
e An optional remote commander RM-DPS7 can be connected to
the REMOTE IN connector to remotely control this unit.

identifying the Parts
Front panel
To be continued
POWER switch
Turns the unit on and off. When the power is on, the
back light of the display window illuminates and the last
indication appears. For a few seconds after switching
on, the sound being input will be directly output since
the bypass function works.
INPUT control
Adjusts the input levels of two channels independently.
The outside knob controls channel 1 and the inside
knob controls channel 2. Since they are linked with
each other, hold whichever you do not use to adjust for
one channel only.
DRY (original sound) control
Adjusts the output level of the source signal which is
clear of any effect. Using this control in conjunction with
the EFFECT control can adjust the balance between the
source signal and the effect signal when mixing them.
To output only the effect signal, set the control to “0”.
EFFECT control
Adjust the output level of the effect signal. Using this
control in conjunction with the DRY control can adjust
the balance between the source signal and the effect
signal when mixing them.
Input level meter
Indicates input level for both channels independently.
Adjusts the INPUT control so that 0 GB is lit when the
signal of the reference level is input. 0 dB means the
head room of 20 dB. When the signal exceeds this head
room, “OVER?” illuminates.
This meter does not work when the BYPASS button is
pressed.
[6 | MIDI indicator
liluminates when the unit receives the MIDI program
change signal or control change signal.
REMOTE indicator
llluminates when the unit receives the signal from an
optional remote commander.
Display window
A display of 40 characters by 2 lines on which names of
called memory, parameter values and/or messages are
indicated. Displayed indication is easy to read in a dark
hall or a studio due to the back lighting.
[9 ] LOAD button
Press the button to call up the memory.
[10] HELP button
Press the button to display information or messages
necessary to proceed with operation.
= = EDIT button
Press the button to change parameter values in the
memory.
SAVE button
Press the button to save the effects individually created
in the user memory.
BYPASS button
Press the button to output the input signal directly.
ENTER button
Press the button every time you have finished selecting
or setting parameters.
Operating dial
Selects preset numbers and/or sets parameters.
GETTING STARTED 7
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Identifying the Parts
Rear panel
VOLTAGE SELECTOR
240V aces Cet 230V
[16] INPUT CH1/CH2 terminal (XLR-3-31 connector)
Balanced-type terminals for input of ch1 and ch2.
[17] INPUT CH1/CH2 terminal (phone jack)
Phone jacks for input of ch1 and ch2.
OUTPUT CH1/CH2 terminal (XLR-3-32 connector)
Balanced-type terminals for output of ch1 and ch2
OUTPUT CH1/CH2 terminal (phone jack)
Phone jacks for output of ch1 and ch2.
When both XLR connectors and phone jacks are used,
the equipment connected to the phone jacks will be
given a priority.
MIDI IN terminal (DIN 5-pin)
Input terminal for the MIDI signal. A commercially
available MIDI cable can be connected between this
terminal and a MIDI OUT (or THRU) terminal of another
MIDI equipment.
|21| MIDI OUT terminal (DIN 5-pin)
Outputs the MIDI signal generated in this unit.
[22] MIDI THRU terminal (DIN 5-pin)
This terminal directly outputs the MID! signal received
from the MIDI IN terminal. A commercially available
MIDI cable can be connected between this terminal and
a MIDI IN terminal of another MIDI equipment.
8 GETTING STARTED
6®
e0
23| REMOTE IN terminal (D-Sub 9-pin)
The terminal to which an optional remote commander is
connected. The remote commander enables you to
remotely control the unit.
REMOTE THRU terminal (D-Sub 9-pin)
This terminal directly outputs the signal received from
an optional commander through the REMOTE IN
terminal. This terminal should be connected to a
REMOTE IN terminal of any effector of the DPS series.
[25] AC IN jack
Use the supplied power cord to plug in a power outlet.
[26] Voltage selector
(only for UK and European model)
Set the voltage selector to the correct position before
connecting the AC power cord to a wall outlet.

Let’s Try to Operate Your DPS-R7
The DPS-Fi7 has a hundred effects stored in the preset
memory. Now first, listen to these effects one by one,
referring to “Hooking Up a System”’ (page 6) and “Preset
Memory List’ (separate volume).
Selecting a Preset Effect
1. Tumon the power.
POWER |
2: Press the LOAD button.
LOAD
LOAD mode indication
(P =Preset memory, U=User memory)
pian ab hall
Algorithm name Memory name
3. Turn the dial to select a desired preset number (P1 to
P100*, U1 to U256**)
For the contents of the preset memory, refer to the
“Preset Memory List’ (separate volume).
User memory numbers (U1 to U256) become
available only after presetting for the numbers are
completed. :
nk
4. Turn the INPUT control to adjust the input level.
5. Turn the DRY and EFFECT controls to adjust the
balance between source signals and effect signals to
obtain a desired sound.
ORY EFFECT
ote ( ete
. e 10;
. . . .
1@ Or
ee et)
oO 10 i?) 10
Before turning on the power of connected equipment
Turn down the volume of each equipment to prevent
unexpectedly high sound from occurring.
To output the input signals directly
Press the BYPASS button. The input signals will be output
directly. To release the bypass function, press the button
again.
OPERATION AT A GLANCE 9
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Overview of the Signal Processing Blocks
The digital signal converted by the A/D converter is then
processed through Input, Pre-effect, Reverberation, Post-
effect and Output blocks sequentially.
Then it comes into the D/A converter.
General Block Diagram
cH ze
INPUT
CHI
OUTPUT
eer REVERB| POST- ( EFFECT!
'
I
EFFECT ‘ bever 1)
i)
rl
[PAN] 6) # ZH
\ i)
iT
OUTPUT
a
|
{LEVEL
__
INPUT
BLOCK’
SDE
GAN
OUTPUT
BLOCK
LeveL
|
'
:
i)
1
;
i)
i)
t
.
7
i
t
dq
:
CH2
CH2
ST/MONO
nn a
Note
When using the bypass function, signals input to ch1/ch2 bypasses the electric circuit and are directly output to the output terminals. When
switching off the unit, the system automatically applies the bypass function.
1 O PARAMETERS OF EACH BLOCK

Since
the
digital
signal
processing
has
a
12
dB
margin
What
can
be
done
with
each
block?
against
the
full-bit
output
signal
from
the
A/D
converter,
the
Input
block
—
the
first
block
to
receive
the
signal
level
raised
within
12
dB
by
EQ
(equalizer)
parameters
digital
signals.
See
page
12
for
in
the
digital
signal
processing
blocks
can
be
regulated
by
details.
simply changing the output level to prevent the clipping.
If
the
signal
is
supposed
to
be
raised
more
than
12
dB
in
the
Pre-effect
block
—
pre-processing
block
closely
digital
processing
blocks,
lower
the
input
level.
related
to
the
Post
effect
block.
2
The
analog
signal
processing
has
a
gain
of
10
dB
for
each
See
pages
13
to
20.
=
input
and
output.
Turn
the
INPUT,
DRY
and
EFFECT
;
«
controls
to
make
the
I/O
level
suitabale
for
the
equipment
Reverberation
block
=
—
the
most
important
block
in
3.
connected
to
the
DPS-R7.
Setting
the
control
to
the
two
creating
effects.See
pages
21
to
4
o’clock
position
(largest
point
on
the
scale)
produces
a
gain
32.
zg
of
0
dB
approximately.
=
Post-effect
block
—
post-processing
block
closely
“9
Algorithm
“OFF”
related
to
the
Pre-effect
block.
s
The
blocks
such
as
Pre-effect,
Post-effect
and
See
pages
33
to
37.
8.
Reverberation
contain
the
algoritm
called
“OFF”.
When
.
;
a
turning
“OFF”
the
block,
that
is,
selecting
OFF
algorithm
in
Output
block
—
the
final
block
to
send
signals
to
=
the
block,
signal
can
bypass
the
block.
D/A
converter.
See
page
38
=
To turn “OFF” the block in a user memory setting, load the
corresponding block, by using B. LOAD function, from a
preset memory setting in which the algorithm “OFF” is
selected.
By turning “OFF” a block, you can save the data area in the
user memoy.
PRE
EFFECT REVERB
Analog level-digital level diagram
Signal flow diagram
A/D
;
D/A.
.
Converter
Converter
POST
EFFECT
OUTPUT
+20dB
OdB
PARAMETERS OF EACH BLOCk | |

Input Block
et
ee
This
block
receives
the
signals
from
the
A/D
converter
to
Parameters
[
MIN
and
MAX
give
them
level,
phase
and
panpot
processing.
.
input
level
(ch1,
ch2)
0-100%
Abbreviations
of
parameter
names
input
phase
(ch1,
ch2)
normal/inverse
The
parameter
name
shown
in
this
manual
may
be
panpot
(cht,
ch2)
|
0-
100%
abbreviated
from
time
to
time
as
shown
below.
panpot
limit
min
(ch1,
ch2)
0-
100%
auto
panner
—
autopan
7
early
rellecion
>
ary
ref.,
e.ref.
panpot
limit
max
(ch1,
ch2)
Z|
0-
100%
reverberation
>
reverb
rotate
>
RT
Note:
predelay
—
PD
If
the
panpot
is
set
to
0%,
signals
pass
through
the
block
and
if
it
is
set
to
100%,
input
signals
for
ch1
is
output
to
ch2
and
vice
versa.
Available
values
for
panpot
lie
between
limit
min
and
max.
1 2 PARAMETERS OF EACH BLOCK

Pre-effect
Block
To
be
continued
This block processes the incoming signals from the Input
block then outputs them to the Reverberation block. Signal
processing in this block uses 6 types of specific algorithms
for the preset memories.
When editing a preset memory, examine which algorithm is
used in the preset memory. Parameters also varies as the
algorithm changes.
What is the side chain?
The side chain is a line by which signals are directly output
from the Pre-effect block to the Post-effect block. This is
effective when you have chosen the gate (Algorithm 6 GTE)
or the auto panner (Algorithm 7 APN) in the Post-effect
block. In other words, as shown in the diagram below,
By bypassing the Reverberation block (that is, By sending
the signals directly from the Pre-effect block to the Post-
effect block), a well responsed gate effect can be obtained
without any signal processing in the Reverberation block.
(With the gate incorporated in the DPS-R7, you can select
input signals for the gate processing. Therefore, signals
output from the Reverberation block can be also selected as
an input source to the gate processing.)
yd0[g 199}j9-84g/490]g ynduy
PRE EFFECT REVERBERATION POST EFFECT
REVERBERATION
side chain
PARAMETERS OF EACH BLOCK | 3

Pre-effect Block
ee
aa
SS
SSS
|
Algorithm
1
Phase
Shifter
PHS
This is a dual channel phase shifter. One LFO (Low
;
:
:
Parameters
MIN
and
MAX
Frequency
Oscillator)
which
determines
the
amount
of
a
phase
shift
outputs
signals
of
the
same
phase
to
each
phase
shifter
on/off
on/off
channel.
LFO
freq
0.1
-
20Hz
The
effect
is
created
by
the
phase
interference
and
may
—
sound
like
sparkling.
Raising
the
resonance
may
give
the
depth
0
-
100%
tone
loud
manner.
Also
changing
the
mixing
ratio
of
the
depth
:
limit
max
__|
9-
100%
direct
sound
and
the
effect
sound,
or
shifting
the
phases
of
resonance
level
(ch1,
ch2)
0-99.9%
resonance
brings
variation
in
tones.
So
listen
to
these
resonance
phase
(ch1,
ch2)
normal/inverse
changes
as
you
set
the
parameters.
;
direct
level
(ch1,
ch2)
0-
100%
direct
phase
(chi,
ch2)
|
normal/inverse
effect
level
(ch1,
ch2)
0-
100%
effect
phase
(ch1,
ch2)
normal/inverse
LFO
Depth
LFO
depth
is
a
parameter
which
defines
an amplitude
of
high
the
LFO
waveform
and
its
offset.
The
more
the
LFO
g
100%
ee max
+—— 0%
waveform.comes up to 100%, the higher the frequency
band where interference occurs becomes. frequency
Interference
low
O side chain1 out
direct level (phase)
“cht
ino
—+o
ch1
out
ch2
ino
©
ch2
out
direct level (phase)
O side chain2 ort ~
1 4 PARAMETERS OF EACH BLOCK

To be continued
Algorithm 2 la tclele (sig 7 FLG
The
signals
of
ch1
and ch2
are
mixed
together
for
input
to
Parameters--2.22
yF
MIN
and
MAX:
7
one
unit
of
flanger.
Phase
can
be
changed
in
input,
output
and
feedback
signals,
enabling
a
flanger
effect
to
spread.
flanger
on/off
on/off
The
effect
is
different
from
that
of
the
Phase
shifter
input
level
(ch1,ch2)
0~100%
7
(Algorithm
1)
and
sounds
like
rubbing,
which
is
characterized
input
phase
(ch1,ch2)
normal/inverse
5
by
a
comb
filter
effect
by
waveform
interference.
=
Property
raising
the
feedback
gives
the
tone
a
manner.
If
you
LFO
freq
[0.1
-
20Hz
|
3
apply
this
effect
to
the
sounds
containing
a
lot
of
overtones
depth
0-100%
2
like
cymbals,
you
can
create
sounds
which
have
intervals
as
depth
:
limit
max
0-100%
=
well
as
a
feeling
of
swelling.
2
feedback
level
0-
99.9%
feedback phase normal/inverse
direct level (ch1, ch2) 0-100%
effect phase (ch1, ch2) normal/inverse
effect level (ch1, ch2) 0- 100%
effect phase (ch1, ch2) normal/inverse
LFO Depth
LFO depth is a parameter which defines an amplitude of high = pha
"the LOF waveform and its offset. The more the LFO - 100% -
‘waveform comes up to 100%, the higher the frequency
band where interference occurs.becomes.
frequency
ote
Interference
limit
max:
—0% : :
low : .
O side chain1 out
direct level (phase) ,
cht
ino
>—-D—+o
cht
out
feedback
level(phase)
input
7
;
%
level
>
(phase)
effect
level
(phase)
td
input
effect
level
(phase)
level
>
(phase)
a
LFO
ch2
ino
>
oe
oO
ch2
out
el(ph
, direct level(phase) BSG SRAIAO Uk
PARAMETERS OF EACH BLOCK | 5

Pre-effect Block
mm
a
Algorithm
3
Stereo
Equalizer
i)
4
@]
This
is
a
dual
channel
digital
equalizer
and
consists
of
3
Parameters
MIN and
MAX
band
equalization
(bass,
treble
and
peaking)
independently
_|
operated
for
ch1
and
ch2.
stereo
EQ
on/off
on/off
bass freq (ch1, ch2) 16 -6.3kHz
bass level (ch1, ch2) —12-+4+12dB
treble freq (ch1, ch2) 400 - 18.0kHz
treble level (ch1, ch2) —12-+4+12dB
PEQ freq (ch1, ch2) 63 - 18.0kHz
PEQ level (ch1, ch2) —12-+12dB
PEQ q (ch1, ch2) 0.267/0.667/1.414/2.145
4.319/8.651/17.31/34.62
© side chain out
freq
—_——»
+12dB
level
level
.
frequency
—12dB ; (one channel)
4 6 PARAMETERS OF EACH BLOCK

To be continued
Algorithm 4 Stereo Exciter + Stereo EQ (Equalizer)
ee dual channel digital equalizer with a dual channel Parameters MIN and MAX
The equalizer consists of a 2 band equalization (bass and stereo exciter + EQ on/off | on/off
treble) independently operated for the channels. exciter level (ch1, ch2) —100 —- +100% z
The exciter clarifies the shape of incoming signals and =
modulates the signals to create a stressed sound. bass freq (ch1, ch2) 16 — 6.3kHz =
bass level (ch1, ch2) —12-+12dB 2
treble freq (cht, ch2) 400 ~ 18.0kHz =
treble level (ch1, ch2) —12-+4+12dB | =
freq
©
side
chain
out
+——
+12dB
level
’
level
frequency
-
_19dB
(one
mena)
PARAMETERS OF EACH BLOCK 1 7

Pre-effect Block
Be fee Oe Set ee ey
Algorithm 5 Monaural Exciter + Monaural EQ (Equalizer) MXE
This is a monaural digital equalizer with an exciter. The Parameters MIN and MAX
equalizer consists of 4 band equalization (bass, treble, :
peaking 1 and peaking 2). No signals can be input from ch2. mono exciter + EQ on/off | on/off
exciter level —100-+100%
bass freq | 16 - 6.3kHz |
bass level -—12-+12dB
T 94 |
treble freq 400 - 18.0kHz
treble level —12-+12dB
PEQ1 freq 63 — 18.0kHz
PEQ1 level —12-+12dB
PEQ1q 0.267/0.667/1.414/2.145
4.319/8.651/17.31/34.62
PEQ2 freq 63 -— 18.0kHz
PEQ2 level —12-+12dB
PEQ2 q 0.267/0.667/1.414/2.145
4.319/8.651/17.31/34.62
oO cht out |
O ch2 out
© side chaint out
re te O side chain2 out
+12dB
“level
—12dB
+— freq.
1 8 PARAMETERS OF EACH BLOCK

Algorithm 6 Gate
This is a dual channel gate. The function of a gate is to turn
on and off the output signals according to the level of input
signals. Making good use of this function, you can set the
parameters so as to output only attacking sound or to reduce
noise when there is no signal.
Also, you can change the time constant by which the gate is
turned on or off. This allows you to change the envelope
during attacking or releasing and thus to obtain an effective
sound. .
In particular, using this in conjucntion with the reverberation
for the percussive input signals such as drums, you will be
able to obtain a real gated reverberation.
(When using this algorithm as a gated reverberation, also
use the same algorithm in the post-effect block.
The predelays on the main lines adjust the time required for
signal detection. For example you can apply the predelay to
the original sound to create an effect as if it had been
passed through the gate processing.
chi in ©
ch2 ino
©) U
chi+ch2
O
ch2
trigger selector
To be continued
GTE
Parameters MIN and MAX al
gate on/off on/off
trigger select chi/ch2/chi+ch2
9g
attack time 0 — 500msec
release time 0 - 5000msec “|
threshold level 0-—100%
hysterisis level 0- 100%
predelay time (ch1, ch2) 0 - 10words
predelay
gain control
predelay enw
signa! detection
6 side chaini out
Oo cht out
O ch2 out
O: side chain2 out
PARAMETERS OF EACH BLOCK
19
490[g 199)J9-24g

Pre-effect Block
Caen
nnn
enn
eee
Sa
SS
Ss
a
< Signal detecting section >
The signal detecting section detects the level of the
incoming signals to control the gate level on the main line.
The following describes the activities of this section.
@ Envelope detection
The incoming signals selected at the trigger selecting
section are detected for envelope waveform at the
envelope follower. (See the dotted line in the figure right.)
@ Threshold Setting
Next, a threshold is set to gain the gate signals from the
envelope waveform. With the hysterisis level of 0%, the
gate is on if the envelope level exceeds the threshold. On
the contrary, it turns off if the envelope level is below the
threshold. Since some envelope waveforms may prevent
the desired gate output, the signal detecting section
allows you to set a hysterisis so that the thresholds for
gate-on and gate-off can be set to different values.
Note:
The hysterisis can be set within the range of threshold level.
@ Ouput of gate level control signal
20
Now the gate level control signal is created from the
gate-on/off trigger obtained in the procedure above. The
time during which the gate level increases up to 90% of
the maximum value from the gate-on trigger is called
attack time. On the other hand, the time during which the
gate level decreases down to 10% of the maximum value
from the gate-off trigger is called release time.
PARAMETERS OF EACH BLOCK
threshold level
hysterisis level
level 100%
level 0%
attack time
release time