Tech 21 DP3X Users Manual

POWER REQUIREMENTS

Utilizes included 9V DC, 100-240V universal auto-switching power
supply, 200mA, center negative.

NOTE: See page 2 for instructions how to change the prong
assembly.

Tech 21 Model #DC9.

For replacements, contact your local dealer/distributor, or Tech 21.
Maximum power consumption: approx 100mA.

ARNINGS:

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* There are no user-serviceable parts inside. Attempting to repair unit is

not recommended and may void warranty.

* Missing or altered serial numbers automatically void warranty. For

your own protection: be sure serial number labels on the unit’s back
plate and exterior box are intact, and return your warranty
registration card or register online.

Note: This equipment has been tested and found to com­ply with the limits for a Class B digital device, pursuant to
part 15 of the FCC Rules. These limits are designed to pro-

vide reasonable protection against harmful interference in a
residential installation. This equipment generates, uses and can radiate
radio frequency energy and, if not installed and used in accordance with
the instructions, may cause harmful interference to radio communica­tions. However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause harmful interfer­ence to radio or television reception, which can be determined by
turning the equipment off and on, the user is encouraged to try to cor­rect the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that
to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

WARRANTY:

ONE YEAR LIMITED. PROOF OF PURCHASE REQUIRED.

Manufacturer warrants unit to be free from defects in materials and
workmanship for one (1) year from date of purchase to the original
purchaser and is not transferable. This warranty does not include dam­age resulting from accident, misuse, abuse, alteration, or incorrect cur­rent or voltage. If unit becomes defective within warranty period, Tech
21 will repair or replace it free of charge. After expiration, Tech 21 will
repair defective unit for a fee.

REPAIRS:

ALL REPAIRS for residents of U.S. and Canada: Call Tech 21 for
Return Authorization Number. Manufacturer will not accept

packages without prior authorization, pre-paid freight (UPS preferred)
and proper insurance.

FOR PERSONAL ASSISTANCE & SERVICE:

Contact Tech 21 weekdays 10:00 AM to 5:00 PM, EST: 973-777-6996.

Hand-built in the U.S.A. using high-quality components
sourced domestically and around the globe.

T: 973-777-6996 • F: 973-777-9899
E: [e-mail] • W: tech21nyc .com
©2018 Tech 21 USA, Inc.

OWNER’S MANUAL

TECH 21, THE COMPANY

Tech 21 was formed by a guitarist possessing the unusual combination
of a trained ear and electronics expertise. In 1989, B. Andrew Barta
made his invention commercially available to players and studios around
the world. His highly-acclaimed SansAmp™ pioneered Tube Amplifier

mulation in professional applications for recording direct and per-

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forming live, and created an entirely new category of signal processing.
There have since been many entries into this niche, yet SansAmp contin­ues to maintain its reputation as the industry standard.

ith a full line of SansAmp models, Tech 21 also offers effect pedals

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and MIDI products, as well as “traditional” style amplifiers for guitar
and bass. Each product is thoughtfully and respectfully designed by B.
Andrew Barta himself with the player in mind. Our goal is to provide
flexible, versatile tools to cultivate, control, refine and redefine your
own individual sound. Tech 21 takes great pride in delivering consistent
quality sound, studio to studio, club to club, arena to arena.

PRODUCT OVERVIEW

The dUg Pinnick Signature DP-3X pedal is a super-compact adaptation
of his Tech 21 Ultra Bass 1000 Signature head. Both recreate the sound
dUg originally developed way back in the ‘80s, merging high-end distor­tion with low-end bass. Prior to his signature head, this involved run­ning a guitar amp and a bass amp together, along with rack full of effects.

Wanting to further streamline his gear for occasions when his full Tech
21 rig simply isn’t practical, dUg collaborated on the all-analog DP-3X
pedal. Personally beta-testing the DP-3X on a European tour, dUg en­countered a different backline in each and every venue. But no matter
which amp was on stage, dUg was able to nail his immense tone each
and every night. According to dUg, “We had a little car, guitars and
drumsticks. That’s it. There was not a club or a bass amp that I played
through that [the DP-3X] didn’t give me the tone that I wanted.”

Having two modes, the DP-3X has the flexibility to provide traditional
bass amp sounds in addition to achieving dUg’s unique tone. dUg said,
“It is designed for your fingers, or your pick, and for you to forge your
own tone. With this thing, you can manipulate it any way you want to
and get a sound that is yours.”

THE INS AND OUTS

1/4” INPUT: 1megOhm instrument level. For normal operation, sig­nal level to Input should be close to that of a standard guitar (approxi­mately -10dBm / 250mV).

1/4” UNIVERSAL OUTPUT: Unbalanced low Z output. This
output can be connected to High Z amplifiers (or effects) as well as Low
Z mixer and computer inputs. Output level is unity gain when pedal is in bypass
mode. It also drives long cables without loss of signal integrity, even in bypass.

BALANCED XLR OUTPUT & GROUND
CONNECT SWITCH: Balanced low Z output. When the

Ground Connect switch is engaged, the ground connects.
Disengaged, the ground of your stage system and other inter­connected gear is lifted (isolated) from the ground of the
mixing console.

UNIVERSAL POWER SUPPLY

The dUg DP-3X is shipped with a power supply that is set up with a
U.S. prong assembly. To change the prong assembly to one of the in­cluded European, UK or Australia/New Zealand styles, be sure the
power supply is unplugged and follow these instructions:

Press the PUSH switch to release the
prong assembly. Slide the assembly up
(about halfway) to align the side tabs of
the prong assembly with the slots of
the power supply housing. Then pull up
to remove the assembly. Choose the
new prong assembly, align the side tabs
with the slot of the housing and slide
down until it clicks into position.

NOTE: You cannot slide the
prong assembly all the way out
or in.

APPLICATIONS

WITH A BASS AMP RIG:

-As a Pre-Amp: Run the 1/4” Output of the DP-3X directly into

the power amp input, a.k.a. “effects return” (if applicable), of an amp.
This will bypass the tone-coloring pre-amp section of the amp rig.

-As a Stomp Box: Run the 1/4” Output into the front input of an
amp. For best results, keep the DP-3X Volume close to unity gain so
you have the same volume coming from your speaker/monitor whether
the pedal is active or in bypass. This ensures the next device in the sig­nal chain won't get slammed by a much hotter signal than what would
normally come from the instrument. Similarly, you wouldn't want a
drop in volume, either, which would force the next device to struggle
for enough signal.

TO DRIVE A POWER AMP: Run the 1/4” Output or the XLR
Output to the corresponding input of a power amp, and adjust your
stage volume with the Volume control of the DP-3X.

TO RECORD DIRECT: Plug the XLR or 1/4” Output directly into
the input of a mixer/recorder. Work with the input trim control on the
mixer/recorder and be sure not to overload its input. Bear in mind full­range systems yield a wide frequency response. Therefore, we suggest
you start with the EQ levels at 12 o’clock and then increase/decrease
to taste.

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TWO MODES

Clean/full-range mode: For cleaner, more traditional bass tones,

Drive and Chunk are disabled, while Comp and Gain remain active.

ix mode: For dUg tone, Mix mode engages Drive to bring in dis-

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tortion and Chunk for upper harmonics.

OTHER GOODIES

CHROMATIC TUNER

he Tuner footswitch engages the chromatic tuner, which will simulta-

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neously mute the signal path. The LED in the tuner window will then
light up. If the green light is on, you’re in tune. If you’re not, the red ar­rows serve as indicators:

GUIDE TO CONTROLS

(in order of signal flow)

GAIN Switch

A 10dB gain boost, which dUg has engaged at all times. It increases the
distortion and compression when in Mix mode. You can also use Gain
to set up the pre-amp for different pickups. For example, with lower
output passive pickups, you can have punchier sounds with Gain en­gaged. Conversely, with higher output active pickups, you can have a
cleaner sound with Gain disengaged. Of course, you can also obtain
over-the-top distortion by using high output pickups with Gain engaged.

DRIVE

Adjusts the amount of gain and overdrive, similar to when the output
section of a tube amp is being pushed. The first half of the rotation will
increase the volume as well as the overdrive.

COMP

Utilizes old school, all-analog, FET-based technology from the ‘50s and
‘60s, which is inherently warmer, more transparent and more musical
than other methods of compression. A single, continuously variable
control allows you to dial in just the right amount of compression you
need. A little goes a long way, from soft and barely noticeable to super
squashy, infinite sustain.

LOW and HIGH

On-board post-EQ section gives you full control, like having a studio
mixing board at your fingertips. Unlike passive tone controls that only
cut, these active shelving EQs cut or boost ±18dB from unity gain at 12
o’clock, with a pivot point at 1kHz.

Arrow points up = Flat. Raise the pitch.
Arrow points down = Sharp. Lower the pitch.

As you get closer to being in tune, the arrow will
blink faster and turn off when you are in tune. The
green light then comes on and you’re good to go.

HEADPHONE

Switches the 1/4-inch output into headphone mode to drive both sides
and provide higher powered output.

NOTE: Be sure to disengage when going
direct to a mixing board or bass ampli­fier input, as it will easily clip the signal.

MID and MID SHIFT:

Active Mid control, cut or boost ±18dB from unity gain at 12 o’clock.
The Mid Shift switch is selectable between 325 Hz (with the Shift
switch in the in position) and 700 Hz (with the Shift switch in the out
position).

CHUNK

Coined affectionately by dUg, the Chunk control determines the level of
high-end distortion and is very responsive to your attack. Works in tan­dem with Drive, which determines the overall amount of distortion.

VOLUME: Adjusts the overall output level.

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NOTEWORTHY NOTES

1) Using with active basses. Active electronics have higher out­put and typically generate more noise. To compensate, we recommend
disengaging the Gain switch and, if necessary, lowering the volume on
your bass. Additionally, experiment with using flat EQ settings and/or
decreasing the Drive and Comp controls.

2) Compression. If the output of your bass is very high, even low
compression settings will sound very compressed. Also, be aware that
higher settings can contribute to feedback, which can be useable.

3) Using the dUg DP-3X with headphones. Settings may
sound brighter through the headphones, so simply adjust the controls
accordingly. Remember to disengage the headphone switch when going
direct to a mixing board or amplifier, as it will easily clip the signal.

4) Tech 21 controls are unusually sensitive and tend to per­form well beyond what would be considered “normal.” So you need
not set everything at max to get maximum results. For instance, to
brighten your sound, rather than automatically boosting High all the
way up, try cutting back on Low first.

5) To find the best settings for interacting with your other gear,
you may need to use radically different settings for each individual way
you use it. You need not be discouraged or suspect something is wrong
with the unit. If you’ve got your sound, you’ve simply found the right bal­ance to complement each individual piece of gear. We recommend you
start with the tone controls at 12 o’clock and cut or boost as necessary.

6) Tech 21 pedals have exceptionally low noise levels.

However, they may amplify noise emanating from the input source. To
minimize noise, we recommend active electronic instruments have the
volume set at about 75%. Since active basses do not lose tone when
the volume isn’t all the way up, this allows some room to go up and
down and keeps your output from being super hot. If you need to
boost, do so slowly and sparingly. Also check for pickup interference
by moving your guitar or turning the volume off. Be aware single coil
magnetic pickups are more likely to generate noise.

7) Placement notes: The dUg DP-3X can be treated as an ampli­fier or pre-amp when it comes to setting up your signal chain:

Place the following effects BEFORE the dUg DP-3X:

Phaser/Vibe, Overdrive, Wah.

Place the following effects AFTER the dUg DP-3X:

Delay, EQ, Flanger, Phaser (yes, after is good, too), Pitch Shifter, Reverb.

8) Buffered bypass eliminates the shortcomings associated with
“true bypass” (pops and clicks, and high-end loss when multiple pedals
are connected together), as well as signal loss associated with other
types of switching circuits.

9) Custom actuators. All Tech 21 pedals feature smooth, custom,
silent-switching actuators.

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