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.
Most humans learn by doing. Sure, you can watch a video or scroll through a forum (usually authored by people with thousands of posts and zero production credits), but you'll never get better without putting in the work. Bushcraft instructors call this “dirt time,” and I'm stealing the term. Learning to hear compression, understanding response curves, and choosing the proper attack/release settings are skills earned through commitment, not theorizing. As a parallel, I doubt Blackmer imagined his noise reduction designs would alter how engineers used compression. I don't know if PSPaudioware intended it, but the DRC is as much a teaching tool as a processor.
Here are some of my findings. Adding a DRC to the master chain on a rock ballad impressed me so much that I stopped what I was doing and wrote our publisher, "This thing is fucking glorious." The starting preset attenuated below the Threshold and boosted above, resulting in a massive impact that retained space and transients. I doubt I would have dialed that up on the Maselec MLA-4 compressor/expander. Now I know better. The best way to describe it is that with the DRC, things sit well, with each element having its own space but retaining articulation. Nowhere was this more evident than in a bluegrass song featuring a Martin acoustic (what else would it be in that genre?), where the source contained more boom and body resonance than optimal. While the guitarist felt it captured his instrument, once another instrument was introduced to the mix the six-string lost articulation, increased mud, and made a mess overall. Choosing a 1.2 to 1 Ratio with the Rms 2 level detector Type, and medium Att (attack) and Release values, plus a tiny bit of saturation, the mud disappeared in a way that sounded natural in a way EQ could not.
The next use case is amazing. Everyone knows that the Fender Rhodes remains a massive harmonic problem child. The chimes were transformed with a slow Att, long Release, and expansion above the Threshold. After fine-tuning the Threshold, the DRC transformed the signature Rhodes tines from a decaying hot mess into beautiful bell-like rings that somehow improved articulation. It likely aligns the harmonics from smearing the initial keystrokes, leaving the note singing.
Kick and snare: You have to try to get a bad sound with the DRC. Next is the upright bass. With a slow Att and Release, including a high threshold using Rms 2, I set up a common approach to this instrument. For some reason, I decided to adjust the Sat values. Usually, that thought wouldn't cross my mind. Yet, after jacking it up to 71%, the articulation remained, but that clicky-clack demurred from being the uncle yelling about birds not being real during Thanksgiving dinner to being in line with other finger percussive sounds. Wow! Just wow.
Now, some notes: The Sat knob can be dangerous. The effect kicks in quickly, making values as low as eight overpowering on some sources. Take a few seconds to confirm you're not adding too much. A ratio of 2:1 is required when operating as a compressor/expander pair. A keystroke modifier + click to snap it there would be helpful. Also on my wish list: It would be cool to include a hidden panel (à la those implemented in other PSPaudioware titles) that could open to reveal the chosen response curve, with a dot tracking the signal as it travels along the session timeline.
I can't remember the last time I was this impressed with a dynamics plug-in. More than a model with a pretty GUI, the PSPaudioware met the moment by tearing apart the dbx 118 and reconstructing it to take advantage of today's production systems and needs. This plug-in can produce exceptional results and also serve as a teaching tool, enabling engineers of any background to level up their skills. Before you buy one more plug-in, you will now go to pspaudioware.com, download, and test the PSPaudioware DRC. Have your wallet ready.