Sony DPS-F7

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Sony DPS-F7

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W × H × D (mm)	482 × 44 × 320
Rack units	1U, full width
Weight	5.0 kg
Type	Fully-editable effects unit
Manufacturer	Sony
Release date	1992
Normal presets	356 (total) 100 (built-in) Max. 256 (user)
Effects	8 types + 2 non-effects
Power delivery	3-pin IEC connector Region-specific 27-watt consumption

The Sony DPS-F7, also known as the Sony Digital Dynamic Filter Plus, is a stereo signal processing effect released in 1992, as part of the DPS effect series. There are a variety of algorithms available on the unit, plus two synthesizer modes. Because it's an effect unit, it features both inputs and outputs, allowing users to interface via either balanced XLR or unbalanced 1/4" (6.35mm) headphone cables. Each input and output channel (that is, one of two stereo channels) has an appropriate XLR and headphone jack. It also features MIDI IN, OUT and THRU, which can control various parameters on the effects unit, and a 3-pin kettle lead power connector.

Algorithms

This section aims to detail each algorithm. It is not a replacement for the manual but rather a brief description of each algorithm. (to do: nobody has this effect, but audio examples of each would be amazing)

Algorithm 0 - No Effect

This is a simple bypass, there are no controls available and there is no effect applied.

Algorithm 1 - Fading Parametric EQ

This is a fading parametric equalizer, which consists of 4 parametric equalizers, each with its own on/off setting, frequency, level and q factor/width, a bass shelving equalizer, a treble shelving equalizer, and a high frequency adjuster, which lets you adjust frequencies above 20 kHz. All of this is fed into a soft clipper, which is a common parameter.

Algorithm 2 - Dynamic Filter 1

This effect algorithm provides two parametric equalizers, a high frequency booster and a low-pass filter, which can be controlled by either MIDI or an envelope follower. The envelope follower can be configured to either follow one of two stereo channels, mix in both, or use the panel key to control the filter. It also allows the user to adequately set the target and initial levels for the effects to fine tune them.

Algorithm 3 - Dynamic Filter 2

This is similar to the previous algorithm in that it provides a controllable filter via MIDI or an envelope follower, but it differs in that it offers a band-pass filter, a multi-mode filter, a high-pass filter and dynamic cross fader instead.

Algorithm 4 - Extended Compressor Limiter

This effect provides a dynamics processing section, which can either compress or expand the signal, and also provides each channel with independent controls for treble, bass, one parametric equalizer, and a phase offsetter.

Algorithm 5 - Sub-harmonic Generator

This algorithm divides the input signals into eight frequency bands and divides the output frequency by one octave for each band. Rather than have the bands be adjustable, it provides 8 "charts" that you can select from, with the first 7 tuning the signals appropriately for different instruments (the manual mentions 6 being best suited for bass guitar and 7 being best suited for guitar sounds), with chart 8 not dividing any frequency down, instead taking the whole signal and trying to divide that down by one octave.

Algorithm 6 - Channel Vocoder

This is a 16-band vocoder, which is controlled by frequency band division. It takes the microphone input on channel 1, and the modulator on channel 2, meaning this effect is always monophonic. It allows the user to select between four frequency patterns, which fit different voice ranges (manual states that 1 is a "standard pattern", 2 is most suitable for female vocals, 3 for narration/speech, and 4 for a wide range that may better fit non-vocal content)

The actual frequency table is 18 entries long, as there is a shift parameter that allows the user to select which frequency to start indexing from ("0" starts from index 2, while "+" starts from index 3, and "-" starts from index 1).

Controls for each band is also provided, particularly for if the band is on or off, what the attack time is, what the release time is, its gain and its output level. Prior to the microphone signal being passed on to the vocoder, it goes through a distortion block and a treble boost/cut block. A pass control block is also provided to allow for some consonants to pass through for a cleaner vocoder implementation.

Algorithm 7 - Exciter

This algorithm aims to enhance sounds by delaying the original sound, but mixing in a high-passed copy of the original that is non-delayed. There are 4 output modes:

• Stereo - processes both channels individually (using the same settings for each).
• Mono - sums up the two channels for the exciter (but not the delay) sections.
• Cross - channel 1 and 2's delay sections are unaffected, but channel 2's exciter is pushed into channel 1, and vice versa.
• Individual - only processes channel 1.

Algorithm 8 - Non-linear saturator

This effect allows you to control a saturation response processor and the EQs that can be adjusted prior and after processing the audio. This effect is processed in the oversampling range, which allows for more natural distortion and compression. Each channel is processed separately.

Algorithm 9 - Percussion Synthesizer

This is not an effect, but rather a software-driven drum machine. It consists of 20 total sound generators, which are broadly categorised into 7 types, and is reminiscent of old-fashioned drum machines (such as the Roland TR series). This is a very complex synthesizing engine to explain briefly, but it consists of several sine-wave oscillators, noise generators, pulse generators and each unit may have other effects appended, such as ring modulation or various filtering modes.

Algorithm 10 - Monophonic Synthesizer

Like the previous algorithm, this is not an effect, but rather a highly-configurable software-driven monophonic synthesizer. It provides 2 analogue style oscillators, two noise and comb filter based oscillators, one low-pass filter, two band-pass filters, and one high-pass filters. Six envelope generators control various aspects of the sound, such as volume, wave shape, pitch or filter cutoff. There are intensity settings throughout to adjust how each oscillator, filter and envelope respond to things such as MIDI note or velocity.

Oddities

• On UK and European models, a voltage selector is provided. This lets users select between either 240V or 230V, presumably to match their local output voltage.