DBX 120

[gartenman]

Anyone have any experience using a DBX 120 and if so what were your impressions? Any possible benefit to use with Heritage line?

[4tay]

Anyone have any experience using a DBX 120 and if so what were your impressions? Any possible benefit to use with Heritage line?

Yes, it's a waste of electronics. Get a good sub instead.

[USNRET]

Gman, I have owned the 224x, 3BX, 400x and 4BX. Depending on what system I used them with I either loved them or they made no difference (never worsened the sound if gently applied). As for as the 120x, I just never understood the intended function. I do have a Velodyne SMS-1 (with a SVS PB12/Plus2) that is great for the HT application and just out of curiousity I am moving it to the two channel tubes to give it a check out. I guess I have jumped into your thread with no answer to your question [:$]

[4tay]

Gman, I have owned the 224x, 3BX, 400x and 4BX. Depending on what system I used them with I either loved them or they made no difference (never worsened the sound if gently applied). As for as the 120x, I just never understood the intended function. I do have a Velodyne SMS-1 (with a SVS PB12/Plus2) that is great for the HT application and just out of curiousity I am moving it to the two channel tubes to give it a check out. I guess I have jumped into your thread with no answer to your question

I bought one back in the day when they were introduced. Back when subs of any kind---let alone powered--were rare. All the DBX sub synths basically sound to me like an artificial bass boost that might work for sound reinforcement, but not fidelity.

[Frzninvt]

If you don't know how to use it properly and use it with too high threshold settings it's obviously going to sound artificial and bloated. The last and best version is the DBX 120X-DS what it does is take a 55-100Hz signal and synthesize it a full octave lower 28-55Hz. That said what is really does is scan the recorded information and retrieves bass notes that were toned down or trimmed during the mastering process. It excels with classic rock like early AC/DC that seemed to have been recorded with limited depth. The 120X-DS has four trim knobs on the front so you can trim the frequencies in four frequency ranges (28, 32, 40, 50), these are in addition to the low frequency level (synthesis) and transition level (how much you want dialed in).

The DBX120X-DS has been used in the recording processing by many popular bands like Soundgarten on their Bad Motorfinger album and many others and is still in use in a number of studios today.

It also can function as an Electronic Crossover to run an outboard subwoofer with a continuously variable crossover from 50-210Hz.

Will it do anything for a fully horn loaded speaker like the Klipschorn, Belle or La Scala - not really since they are limited by the function of the horn and the limited excursion of the woofer.

For Cornwalls, Forte', Forte' II, Chorus and Chorus II's - oh yes you will notice a difference. Keep in mind that the 120X-DS will place more demands on your amplifier and speakers so make sure your amp and speakers can handle those demands. More bass requires more power and more excursion.

There is also an Audio Control - Phase Coupled Activator which is the home version of their famous car audio Epicenter. This thing can generate some very, very deep bass but to me it seemed more of a one note wonder and not as musical as the 120X-DS. It dug deeper but it did not do well on some of the higher bass frequencies.

It can be a very useful tool in the right hands. The earlier versions like the 120 and 120X do not have the same functionality and refinement that the 120X-DS model has. When used in conjuction with a DBX 3BX-DS Dynamic Range Controller that has the Impact Restoration controls, the immediacy and impact of the drum attacks will sound so real they will astound you. Like the solo on Rush's - All the World's a Stage.

[Coytee]

I agree 101% with Charles.

I had a dbx 100 (they called it a "boom box" on the original version) back in the day. I still own it for that matter. I also have the 120DS that he refers to.

You can get silly with them or you can be judicious with them. With my EV's, the dbx would allow (cause?) the EV's to grab the house and shake it.

Oh, perhaps I should say...this was prior to subwoofers being known to me at all (late 70's early 80's). My EV's also have a -3db point at 28hz so they went far below my LaScalas. what it would do for the LaScalas though, is add in even more of that 'punch you in the chest' bass. Not so much shake the foundation.

You could turn the knobs and get everything all bloated sounding or you could back off and find a more natural sounding level.

One nice thing about this (I also had mine plumbed into a 3bx among some other goodies) they are usually in your tape loop so you always had the choice to bring them in or not.

I once had someone over to hear the Jubilee's. At the time, I think I had my 5bx and perhaps the 120 plumbed into my Peach. They were more of a purist type and didn't want to hear those effects.....so, tape monitor off and viola, they're gone.

[Coytee]

Side note: The above was created with paragraphs and I see it's all one mish-mash.

interesting

[4tay]

If you don't know how to use it properly and use it with too high threshold settings it's obviously going to sound artificial and bloated. The last and best version is the DBX 120X-DS what it does is take a 55-100Hz signal and synthesize it a full octave lower 28-55Hz. It can be a very useful tool in the right hands. The earlier versions like the 120 and 120X do not have the same functionality and refinement that the 120X-DS model has. When used in conjuction with a DBX 3BX-DS Dynamic Range Controller that has the Impact Restoration controls, the immediacy and impact of the drum attacks will sound so real they will astound you. Like the solo on Rush's - All the World's a Stage.

I'll glaze over the implication that it sounds great and anything less was operator error. I was quite adept at it, (and so was my friend who is a very successful recording engineer at the moment) and it still was not *THAT* impressive from a fidelity standpoint vs a quanitity standpoint. I have seen people blow speakers with them...they are the dangerous types. I never tried the DS, but "immediacy" tended to be overshadowed by lack of articulation. Classical sounded unnatural, as there seemed to be no dynamics to the energy: rather lots of it at one level. I never used the DS model myself, by that time, I had a sub with a very large amp. It sounded much more real to me. They are not something I'd use at home, but hey--they work for dance halls and cerwin vegas in a giant room-and HT to be sure. Again, I'll take a good sub over a 120 for a home music system.