The PSPaudioware DRC dynamic range controller is one of the most noteworthy plug-ins I have seen in a long time. Using the dbx 118 Dynamic Range Enhancer as a foundation, the DRC is neither a clone nor an emulation. Enhanced controls offer users deeper adjustments than the original, however, the extra additions are substantive, and I am not just referring to including a wet/dry mix blend and heralding it as “significantly improved.” The resulting product is a paragon of what plug-ins could be rather than a one-to-one hardware replication.
We can't talk about dbx without mentioning David E. Blackmer. With a storied career that included a stint at Raytheon developing telemetry systems for the Project Mercury space program, his true passion lay in audio, where many of his inventions remain in use. He converted the noisy voltage-controlled amplifiers (VCAs) of the day into low-noise components suitable for audio production – often referred to as the “Blackmer gain cell.” His imprint can be found on modern designs from Solid State Logic, Vertigo Sound, and Dangerous Music, to name just a few. Blackmer’s objective, however, was to create a noise reduction system to improve the signal-to-noise ratio of analog tape machines. In a “why didn't I think of that?” way, he devised a compander that compressed a source and then expanded it. Tape hiss is overpowered by the expanded signal. His focus on decibel expansion led to the company name dbx. David Blackmer later went on to establish Earthworks Audio, which was an innovator of omnidirectional mics.
The original dbx 118 was targeted to the high-end consumer market as a single-band linear expander, a linear compressor, a limiter, and a peak unlimiter. I will discuss these at a high level. Explaining each variation of compression and expansion would require a third of the magazine, and I doubt anyone would stay awake long enough to read it. Fortunately, the manual contains clear graphics for each version. I recommend keeping it nearby. A manual is also located within the DRC plug-in GUI via a button conveniently located in the settings pop-up, so it's never far away.
When configuring the DRC, two controls are the foundation: Level detector Type and compression Mode. The interplay between these functions sets the direction of the processing. Unlike optical or FET designs, dbx compressors had a hard knee compression curve. Once the input signal reached the Threshold, compression engaged. Later designs would add a smoother onset, unsurprisingly called “soft knee.” With the DRC, the Type offers Rms 1, which I view as a hard knee, Rms 2, which seems closer to a soft knee, and Peak, which is a limiter. Mode defines the processing as it relates to the Threshold: Above will process signals exceeding the Threshold, while Below affects those that do not reach it; Linear alters the entire range.
It helps to consider the Threshold value as the pivot point for Mode settings. Adjusting the Gain Limits will pair Cut and Boost, which can effectively add two additional knees above and below the Threshold. We're not done. The character of processing that occurs above or below the Threshold is determined by the Ratio knob, which ranges from infinity to one, up to 1:2. Values below zero attenuate, while numbers above the Threshold indicate a level boost. I told you graphics were required.
Many dbx products were considered transparent, but others, such as the dbx 160 VU, are vibe-in-a-box. Similarly, DRC’s Sat (saturation) knob adjusts the quantity and character of saturation from none to amazing effect distortion. Still with me? If so, you're probably wondering how to get a handle on this thing! Go through the presets. Seriously. At the bottom of the preset catalog, it reads, "Factory presets are (an) integral part of the plug-in." Heed this advice. A dedicated designer tab contains production settings developed by industry veterans. Spend most of your time there. Next, use some material you need to compress, then cycle through each preset. At this point, it's vital to focus on the sound first and then view the preset's name. Even if the name seems unrelated to your source, try several. If it's labeled for drums, it doesn't matter. What does it do to vocals, keys, guitars – whatever test files you have? Using your favorite entries, return to the interface and examine its settings. Was it attenuating, boosting, or both? Expect to say, "No way!" or "That's how they got that sound," more than once. From there, adjust settings. Did a change help or hurt? Why? What did you learn from this? If you have been in a rut relying on the same compression settings, it will be exposed here. No matter how experienced you are, some configurations may surprise you, and that's the objective.