DBX DISCS: THE STATE-OF-THE-ART IN DYNAMIC RANGE.
Again, linear décibel companding was the answer.
Very simply, dbx went to the source of the problem: the actual cutting of the master dise from which records are eventually made. ïnstead of arbitrarily compressing or limiting dynamic range as the music signal is trans-ferred from master tape to master dise, dbx precisely compresses the music by a 2 to 1 ratio. The resulting encoded signal fits comfortably within the
dynamic range limitations of vinyl records. Then, when the record is played back through a dbx Disc Décoder, the music signal is expanded in an exact mirror image fashion by a 1 to 2 ratio. This restores the full signal of the music as captured on the master tape.
Now, with dbx Dises, you can hear music with dynamic range equal to that of studio master tapes.
And recently, dbx introduced Digital dbx Dises, produced from tapes made by the new digital recording process. The resuit is the full 90 dB dynamic range of a live performance.
In addition, dbx Dises and Digital dbx Dises virtually eliminate the ticks, pops and surface noise of conventional records. So for the first time, you can listen to the music instead of the record-a major breakthrough in music reproduction. PERFECTING TONAL BALANCE AND SPATIAL PERSPECTIVE.
Now dbx is attacking the remaining problems in reproducing sound that approaches the realism of a live performance.
Our Subharmonic Synthesizer can enhance the bass response of your stereo system to include the natural subharmonics of live music - the kind of bass you actually feeh
And our Computerized Equalizer/ Analyzer can provide an accuracy of tonal balance in a listening area never bef ore possible.
Take a look at the family of dbx audio components and what they can do for your music. Then ask your auth-orized dbx retailer for a démonstration.
It could be the most important step you ever take toward sonic realism.
'Dolby is a rôgislered Irademark oi
When you décide to upgrade your stereo System - whether you add the latest cartridge. buy séparâtes, or Irade in the whole System - you do it for one reason only. To get closer to the realism of a live performance.
dbx has been designing audio prod-ucts since 1971 that let you do just that.
We started in the professional record-ing studios, where the major obstacle to realistic Sound reproduction was tape noise. While Dolby" Systems were helping in this area, they didn't solve the problem. So dbx developed a new process called linear décibel companding that's many times more effective than Dolby in reducing tape noise.
Today, dbx tape noise réduction Systems are used in professional record-ing studios around the world.
From that beginning, dbx has carried ils technology into home Systems with a whole family of audio components.
They are not ordinary components. We let other companies build receivers, amplifiers, preamplifiers, turntables and tape recorders. At dbx, we develop high technology products for the person who appréciâtes how live music sounds, and how far short of that sound conventional equipment falls.
WHY DOES LIVE MUSIC SOUND LIVE? A live performance sounds live because of three basic characteristics of music: tonal balance, spatial perspective, and dynamic range. Correct tonal balance, or flat frequency response, requires uniform reproduction of sound across the audible frequency range. Spatial perspective is the dimen-sional quality of music that allows you to recognize that instruments and voices are reaching your ears at différent times and from différent locations.
The third, dynamic range, is the différence in volume, measured in décibels, between the loudest and quietest passages of a musical sélection. From the 120 dB thundering tran-sients of an orchestra or rock group, to the 30 dB subtle nuances of a triangle or flûte. In order for your stereo system to sound more like a live performance, it has to accurately reproduce ail three of thèse basic characteristics of live music.
When dbx entered the high fidelity scène, audio manufacturer had already made a lot of progress in tonal balance and spatial perspective. So dbx began by addressing the problem everyone else was ignoring: dynamic range-
THE MISSING ELEMENT. The problem is that conventional records hâve always been severely limited in dynamic range. ïnstead of the 90 dB of a live performance, they provide only 50 dB, or 60 dB from the best audiophile dises. Any attempt to record music with greater dynamic range on a vinyl record results in groove excursions simply too extrême for the phonograph stylus to track. A similar problem exists with tape. Too wide a dynamic range can satu-rate the tape, causing distortion of the music.
So, audio engineers hâve been forced to compress dynamic range during recording. They actually squeeze the music, so the louds dont sound as loud as they should, and the softs don't sound as soft.
Add to that the problems of record surface noise and tape hiss- which interfère with quiet musical passages—and you can appreciate how dynamic range has suffered in the music recording and reproduction process. In fact, even with the finest hi-fi equipment and the best conventional records and tapes, you still lose about xh of the dynamic range that was présent in the original performances.
THE DBX BREAKTHROUGH. The breakthrough came when dbx applied the linear décibel companding process to home audio equipment. Because the process not only reduces noise. It also allows the full dynamic range of the source material to be reproduced.
Our first products were tape noise réduction Systems used for taping live music without losing dynamic range. The linear décibel companding process. originally developed by dbx for professional tape noise réduction. Then we adapted this process to develop a new family of products which you can use to greatly improve the dynamic range of music from conventional records and tapes as well as radio broadeasts. This new family of products is called dynamic range expanders. But the major goal still remained: to hear the full dynamic range of a live performance from records in your own home.
