Film-Tech Forum ARCHIVE: QSC DCP processors reviews?

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Posted by Mike Frese (Member # 4361) on 04-26-2012, 08:59 AM:

I have not seen much on this forum about the QSC DCP units. Any one using these and have any thoughts? Prices compared to the Dolby CP750?

Thanks

Posted by David Zylstra (Member # 4230) on 04-26-2012, 03:55 PM:

I have 2 buildings that are 100% QSC DCP-300s and as I update older equipment I use DCP-300s.

The QSC DCP-300 can input and route 16 channels of AES audio and you have a lot of versatility in setting up custom channel routing, i.e. you can create any number of presets that reference the same inputs but with different output routing or EQ (you can save 3 different EQs). One downside is the S/PDIF input is PCM only so all you can do for multi-channel is a pro logic style decode for that input. With the Venue manager software you can build an interface for the staff to control the DCPs via PC, there is also the option for a remote control (NAC-100) that can be placed anywhere on the network for control; with the relay outputs on the DCPs you can even use the NAC-100 (or PC interface) to remotely control functions like house lights or server start/stop/pause.

The DCP-100 is closer in functionality (i.e. same number of input channels) to the CP750 and if you factor in the cost of a DCM monitor to a CP750 the price is within a few hundred.

So far the QSC units have proven very reliable.

Posted by Carsten Kurz (Member # 5396) on 04-26-2012, 05:05 PM:

Any comments on typical pricing for these?

- Carsten

Posted by Dave Macaulay (Member # 813) on 04-27-2012, 02:57 PM:

As far as pricing goes - unless you have good reason to choose the DCP-300 over a CP750, paying three times as much doesn't make sense to me.

Review: The unit is easy to install and configure. The front panel interface is unwieldy: the CP750 is much easier for an operator. But "operators" are disappearing so that may not matter any more. The manual is not very good, but an experienced tech should have no problems: for one thing it does not indicate the room SPL for level setting but it is the same 85/82 as Dolby standard. Tuning is easy but you need your own spectrum analyzer (CP750 setup software has an analyzer).
The DCP-300 has a lot of capability that the CP750 does not but it's stuff that I have never used in a cinema, like CobraNet or three sets of EQ. Having the automation stuff is good if you don't have another automation device but most of my cinema installs need more outputs than the DCP-300 provides. And a Jnior costs less than the price differential from a CP750.

Bottom line - Dolby has sold 30,000 CP750 processors and there's good reason for this. It does a good job and the price is right. For venues that need the extra capabilities, the DCP-300 is a fine choice.

Posted by Marco Giustini (Member # 4544) on 04-28-2012, 03:51 AM:

The price of a DCP100 is LOWER than a CP750 plus a DCM (CP750 does not come with a Crossover).
DSP-wise the DCP is amazing. You won't use the graphic equaliser, there are so many parametrics and filters which allow you to shape your sound without tinkering with anachronistic graphic slides.
But if you really can't do without them, they are available as well.

CobraNET is massive: first it allows you to place your amps by the speakers just using inexpensive ethernet cables. Secondly, you can re-route everything with a click.
Say you have a broken centre channel, your service engineer could be able to access your network remotely and re-route the centre channel to another channel until the speaker is replaced.

I did not know about the SPDIF allowing PCM only, that's a down!

Posted by Carsten Kurz (Member # 5396) on 04-28-2012, 05:57 AM:

With Dolby/DTS True HD/Master etc. from BluRays and the like, S/PDIF Raw is of limited use anyway in the future.

- Carsten

Posted by Kris Verhanneman (Member # 5562) on 04-28-2012, 09:19 AM:

Just to give you some feedback on how in day to day use they work.

We have a few DCP in our projection room.
There a few points that we would love to see changed.
We do miss the buttons (a quick change of preset/format without going in submenu's).
Something that marks in BIG COLORED that the gear is in mute. When the gear is in mute you only get a small red led but sound on your monitor.
At this point most of the crew prefers our CP500/DMA8 setup.
Sorry they still didn't give us a CP750 to play with.
We did have a Datacast AP20 in test and had some fun with that one.

Posted by Samuel Hynds (Member # 2610) on 05-02-2012, 01:29 PM:

The DCP is much more than just a cinema processor. It performs booth monitor and crossover functions as well as providing network control and monitoring both locally and via SNMP to a remote NOC. The DCP can monitor all key amplifier conditions such as clipping and temperature and the speaker load impedance can be checked to insure drivers are working. Complete system control and monitoring is also available via free iOS and Android control apps.

The DCP 100 is for 8 channel systems and is very cost effective compared to other equivalent solutions that include monitors and crossovers. The DCP 300 supports 16 channel inputs and has crossovers for up to five 4-way screen channels. The use of CobraNet to eliminate long speaker cables is now even easier with the introduction of the DXP Digital Expansion Processor. Control presets can be used with relays in the DCP and DXP to control external devices like masking and dimmers via the mobile app, Ethernet commands or the RS-232 serial port.

Sam Hynds
Product Specialist, Cinema
QSC Audio Products, LLC

Posted by Ken Lackner (Member # 1002) on 05-05-2012, 11:00 AM:

Sam,

I checked out the product page for the DXP. How is this any different from a BASIS?