Ensoniq DP/4 Parallel Effects Processor

Ensoniq were a keyboard manufacturer back in the 1980s, but their legacy seems destined to be their first multi-effect processor, the Ensoniq DP/4. Using their experience from keyboards and samplers, Ensoniq developed their first effects processor in 1992 towards the end of their keyboard era, and to this day, the Ensoniq DP/4 is still sought being after.

Ensoniq DP/4 Parallel Effects Processor Details

As a musician, you must be prepared to perform in a wide variety of situations, and your equipment should be just as adaptable. That’s the philosophy behind the Ensoniq DP/4 Parallel Effects Processor – offering unparalleled flexibility, extensive programmability, and uncompromising sound quality.

To deliver this power, Ensoniq took inspiration from the concept of parallel processing, a technique from the computing world. The DP/4 features four discrete effects processors, labelled Units A, B, C, and D, each capable of generating 24-bit dynamic stereo effects. Importantly, each unit functions as a complete effects processor on its own, offering multi-effects capabilities with a vast range of parameters for precise control. However, with four processors working simultaneously, the Ensoniq DP/4 excels at creating complex, high-quality multi-effects without sacrificing fidelity.

The Ensoniq DP/4’s architecture offers a 4-input, 4-output system, enabling the processing of up to four separate signals at once. To maximise flexibility, the Ensoniq DP/4 includes a digital patch bay that allows you to route signals in either mono or stereo configurations, in series or parallel signal flows. This versatility means you can configure the DP/4 to suit any situation, from live performances to intricate studio sessions. The processor also features a built-in submixer to control signal output. With this submixer, you can preserve individual stereo images across the four outputs or consolidate multiple inputs into two outputs. There are over 30 signal routing options, ensuring that the DP/4 can handle even the most demanding configurations.

The Ensoniq DP/4 is a powerhouse of effects processing, offering a total of 46 algorithms. These include 43 single-unit stereo effects and 3 multi-unit effects algorithms. From rich, world-class reverbs that recreate spaces ranging from intimate rooms to grand halls, to precise 6.6-second delays (syncable to MIDI clock or Tap Tempo), the DP/4 excels at delivering professional sound. Modulation effects include lush choruses, flangers, phasers, and tremolos, while the rotating speaker algorithm authentically replicates the sound of a Leslie cabinet. Guitarists will appreciate the inclusion of amp and speaker simulations as well as the dynamic VCF-Distortion algorithm for expressive wah-wah effects. Additionally, the built-in LFO enables effects like vibrato, panning, and tremolo, while a sine/noise generator allows for the creation of sound effects even without an instrument input.

For audio professionals, the Ensoniq DP/4 includes powerful tools such as four pitch shifters, a parametric EQ, shelving EQ, expanders, ducking, gating, and a fast-responding compressor. These features make it ideal for recording, live broadcast, video production, or post-production workflows.

Each of the Ensoniq DP/4’s 46 algorithms can be modulated in real time by any two of 138 MIDI or analogue controllers, offering dynamic control over effects and allowing for expressive performances. With MIDI Program Changes, you can seamlessly recall presets or reconfigure the routing of the DP/4, enabling full automation – ideal for live performances or studio integration.

The Ensoniq DP/4 includes 400 presets to get you started, with configurations suited to a variety of workflows. Presets are organised into four categories:

  • 1-Unit Presets: Single-processor effects
  • 2-Unit Presets: Two combined effects processors
  • 4-Unit Presets: Full four-unit configurations
  • Config Presets: Global settings that store the full DP/4 configuration

 

Each category includes 100 memory locations (50 ROM and 50 RAM), giving you extensive options for immediate use or custom programming. The DP/4 supports four primary configuration types:

  1. 4 Source Config: Four independent signals using four 1-Unit presets.
  2. 2 Source Config: Two signals using two 2-Unit presets.
  3. 1 Source Config: A single signal processed with one 4-Unit preset.
  4. 3 Source Config: A flexible mix of 1- and 2-Unit presets.

 

These configurations ensure you can adapt the DP/4 to any signal routing requirement, whether for multi-instrument performance or complex studio applications.

User-friendly design is a key feature of the DP/4. Dedicated input and output knobs for each of the four channels allow for instant level control, with signal and peak LEDs to help optimise gain structure. Each processor has a dedicated button for quick selection, preset loading, editing, or bypassing. The large Data Entry Knob makes parameter adjustments effortless, while the Compare button allows you to toggle between your current edits and the stored settings.

A 32-character backlit display provides clear and accessible information, including selected algorithms, parameters, and presets. For critical studio applications, it also functions as a gain reduction meter when using compression. An additional 2-character LED provides real-time parameter values during editing and confirms MIDI activity, ensuring smooth integration into MIDI-based setups.

The Ensoniq DP/4 set a new standard in effects processing, combining flexibility, programmability, and pristine audio quality. Its revolutionary design offered musicians and producers a compact yet powerful tool, capable of handling even the most demanding live or studio scenarios. The success of the DP/4 led to the release of the Ensoniq DP/4+, an improved version that built upon its predecessor’s legacy.

With its ability to route, process, and modulate effects in countless ways, the DP/4 remains a celebrated piece of audio gear, synonymous with versatility and professional-grade sound. Whether you need world-class reverbs, dynamic modulation effects, or intricate signal processing tools, the DP/4 delivers it all in a single, cohesive unit.

 

Specifications

  • Frequency response (wet and dry): 2 Hz – 18 kHz
  • Signal-to-noise: >87dB
  • THD+Noise: <0.05% (86dB)
  • Dynamic range: 96dB
  • IM distortion (SMPTE): ≤0.05%
  • Crosstalk between channels: Better than -80 dB (1 kHz)
  • Input impedance: 1MΩ
  • Output impedance: 2.6kΩ
  • DSP chips: (4) 24/48-bit DSP chips yielding 40 MIPS processing power
  • Digital to Analogue conversion: 16-Bit
  • Analogue to Digital conversion: 16-Bit
  • Delay memory: 256K words (512 Kbytes)
  • Max delay time per unit: 1.6 sec.
  • Max single delay time possible (no regeneration): 6.4 sec.
  • Preset Memory: 400, divided between 200 ROM, 200 RAM (user)
  • Audio inputs: 4 audio inputs (phone jacks)
  • Audio outputs: 4 audio outputs (phone jacks)
  • Input and output level controls: Separate input and output level controls for 4 channels; accommodate -10 to +4dB
  • Level indicator LEDs: Two level indicator LEDs per channel
  • Display: 32 character back-lit LCD display
  • Parameter knob: Digital 32 step parameter knob
  • MIDI: MIDI in/out and thru
  • Analog control: Voltage pedal input
  • Foot switch: Dual foot switch input
  • Power supply: Internal power supply; detachable power cord; internal fuse
  • Dimensions: 482.6mm) x 88.7mm) x 396.8mm
  • Rack mount: 19” rack mount standard, 2U high
  • Weight: 5.44 kg

TRY OUR ‘MY EFFECTS RACK’ FEATURE TO TRACK WHAT YOU HAVE IN YOUR EFFECTS RACK NOW, AND THOSE ITEMS YOU WISH TO ADD.

The details provided above are drawn from historical documents like advertising brochures or user manuals. They’re shared without bias or review. This info is given solely for your consideration, helping you gauge its usefulness to you.

Ensoniq DP4
User Reviews

FX PANZER

By Rene Kirchner

Sound Quality 90%
Build Quality 95%
Usefullness 95%
Mojo/Funk 95%
Reliability 95%

Had it in the studio from 2003 to 2016. Reliable and user friendly technique and quality. I really miss that thing. One of the best FX all rounder for electronic music studios! Design, Quality and FXs are premium!

I USE THREE OF THESE. HAVEN’T NEEDED A NEW FX PROCESSOR SINCE 1994!

By Anonymous

Sound Quality 80%
Build Quality 90%
Usefullness 100%
Mojo/Funk 95%
Reliability 80%

It does everything…four times over. I almost always use all four processors for a single source and get excellent results. A luxury I know since I have three available for use. Typically Vocals and Guitar are the two instruments that can gain from multiple effects. Vocals use a compressor, gating, eq, and reverb, leaving me some other effect to use intermittently such as chorus, echo, distortion, or flanging. Same for guitars. I’ll often use a amp simulator (3 types) and maybe a speaker simulator, leaving me with two other processors for multi-effects such as chorus-delay, or flanger-delay, or dual pitch shifting. You see, there are a lot of possibilities.

I’ve also used it live as 4 compressors – one for each vocal mic, but I found it better to just use two 1U dual compressors for the instant knobs twist and gain reduction LEDs. I have also used it as a dedicated voice processor for live use, and using all four processors in series can even make me sound good!

If you have the mixer, you can use to aux sends for two dual-processor effects, or if you have 4 sends, up to 4 individual effects. Once you understand the routing switching and the switching method of the jacks it’s easy to use 1, 2, or 4 effect in/outs. 3 effect in/out (as in two single and one dual effect) is not really supported, but easy enough to set up with a short patch cable. You just can’t switch it around from the front panel. That’s not so bad though since seldom will you need to change the number of ins and outs on the fly.

Drawback: Great MIDI implementation but sadly the volume control for delay line effects is on the output, not the input, so you will have a harder time queing the exact phrase that should be echoed. You will need a second processor before the delay effect to do that – not a problem if you wanted a second effect in series but it is a limitation.

The rooms and plates sound fine. So does the hall for some things but somehow the hall doesn’t seem so useful to me – I guess it has a bit of a quirky sound. So if you want a really freakin’ good reverb, I’d use the room & plate in parallel or series, or use some of the non-linear (i.e. reverse) reverbs. to me they sound better. The 8-voice chorus is to me a bit much – to smeary or something. I prefer the simpler eq-chorus-ddl effect since it has a cleaner chorus and includes more eq and delay effects that can be used or not.

The system has a lot of programability and that makes this very flexible. As one example, if you have one or up to four inputs, the output of the effect can still remain in stereo. It is mixed internally and output thru jacks 1 & 2, so only two returns are needed. If going mono, just use output 1 and all processors are summed to mono. This is all done with jack switching internally so there is no menu-configuration needed.

Look, I could go on and on with this unit. It has some drawbacks, but it is pretty awesome too. The fact that I have three of these, and continue to use them even now 25 or so years later, should be enough of an endorsement from me.

VERY BEAUTIFUL, GREAT LOOK

By Anonymous

Sound Quality 85%
Build Quality 100%
Usefullness 75%
Mojo/Funk 85%
Reliability 95%

Best thing retro design….!

SYNTHDUST

By Jacob Daniel Miller

Sound Quality 85%
Build Quality 100%
Usefullness 100%
Mojo/Funk 70%
Reliability 100%

Fun to use.

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