Compression is decreasing the dynamic range (the distance between the quietest
sounds to the loudest sounds) of a source (during tracking) or a track (during mixdown).
You have control over the threshold (the level at which the compressor starts to work),
the attack (how fast it starts to work after you reach the threshold) and the release
(how fast the compressor returns to idle after the level drops below the threshold)..
as well as some other controls depending on the compresor.
By using compression judiciously, you gan get a more consistent, "punchy" track.
Downside, increasing noise floor when using make-up gain, as well as some "pumping"
or "breathing" artifacts if overdone (unless those are effects you're looking to achieve).

Limiting is the same thing as compression EXCEPT...the threshold is set to only
work on the highest peaks and the ratio is set very high to actually prevent the
source material from passing the threshold (whereas with compression the source
material will only pass the threshold by a ratio determined by the compressor
setting). For example, a source that passes the threshold by 3db but it being
compressed by a 3:1 ratio will only pass the threshold by 1db. With hard limiting
(sometimes also called "brickwall" limiting), the source will be prevented
from passing the threshold (but sometimes with some distortion as a result).

Expansion is The opposite of compression or increasing dynamic range by a
ratio determined by the user after the material passes below the threshold.
In use, it works pretty much the same as compression in reverse with a
similar set of controls. The result is decreasing the noise floor so
that source material can be automatically cleaned up as you record.

Gating is a more extreme form of expansion whereby a "door or gate" opens
and closes to let only the material above the threshold pass through while
everything else is cut out. This is frequently also used as an effect to
artificially cut off the release segment of a heavy reverb applied to an
instrument (drums, horns etc.) to give it a fat mechanical sound (think of
the "cannon"-like drums that Phil Collins made so popular in the 80's).
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Dynamics are available to all the inputs as well as all the disc tracks after they've
been recorded aside and separate from the fx (although there are also dynamics
effects you can use)...mind boggling isn't it? Yes, that's right, you can apply
dynamics to any input while recording or any track after the fact (mixdown) and
still have all four stereo effects available. With the coming OS, you'll also be
able to have dynamics settings saved and available as you get ones you like.
Strictly for dynamics, you just call up the channel for the input you want to
work on (mixer button, channel button...then press the select button for the
input channel while in the input fader bank). Press the dynamics button and you
can toggle between expansion/gating and compression. Make sure before
you go into the dynamics page that you have the dynamics set to "on" in
the channel page so you can hear the effect as you make changes. Don't be afraid
to make extreme settings so you can hear (and see) what's going on, then ease off.
You'll also start to see an inverse meter working on the channel page indicating
that the compressor is working (reducing gain).
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MBCX

You will find the MBCX in the CDR menu.
Once you activate it, it replaces the reverbs etc when you press the FX key.

To get started, use one of the presets like Mastering perhaps. Use the cursor key
to move to the "One" soft key and press the + key to change this to "All".

Now with the track playing, adjust the Threshold Q knob to the left which increases
the sensitivity of all four bands together giving you a noticable difference through
the speakers. Now adjust the Level Q knob accordingly so that the meters read a
healthy amount of gain. Try increasing the Ratio Q knob as well, to get a feel
for how far you can squash or slam the mix.

This is a simplistic approach to create an obvious compression and sometimes very
usable result. Now press the "FX On" softkey to bypass the compressor to
hear what you have done. Press it again to return to the MBCX effect. The mix should
be more up front and have a more even presence without being too squashed.

Returning the "All" soft key to "One" will give you individual
control of the four bands. You might want to increase the amount of threshold on
the top end and leave the bottom and less compressed for a smooth bass with a
smacking top end or the other way round! You may want the mids more heavily
compressed and leave the tops glossy and the bottoms naturally round.

You can use the MBCX to control just the levels of the four bands to compensate
for a build up of common mid range or low range instruments etc.

If you do something and it sounds good, store it as a user preset in the library
and you then have a great starting point for your next attempt.
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more MBCX

Mix a 24 track project (for example, named: "Project") with FX down to a stereo pair
- as a new project, lets call it "Project1."
Then with "project 1" loaded (the stereo dub) I apply the MBCX, and save/burn
that version as a new project called for example "Project2."

In summary:

Project: 24 tracks with FX's
Project1: Stereo L/R mix with FX's
Project2: Stereo L/R mix with FX's and MBCX!

The multiband compressor must be used after doing your mix with effects since
the multiband algorithm is very powerful and uses loads of system resources.
This is the natural way or working with multitrack audio.
Your first project is your multitrack. You record that to a new two track mix.
That project is then "mastered"...recorded to a new two track project with multiband
(as well as eq if necessary). Then, that project is dithered (if it wasn't recorded at
16/44.1 in the first place) which creates a third project.
Along the way, you haven't lost anything as all three projects either reside on your hard drive (or hopefully backup disc) so they can be reused if you need to do
more work on any of them.
The mbcx is very powerful and sounds great. The presets are very good and some
of them might work for you "right out of the box", or you can do some tweaking.
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and still more MBCX

go into MBCX, move your cursor to "One" (it might say "All" - use the +/- key
and change it to "One." Now you can change 1 parameter at a time.

Go down to the bass (LF), and set it to about +4db - (no higher!)
Then play around with the bass x-over frequency until it comes out right.
A steeper slope will cut some mid-bass out of there. You can now play around
with all 4 of the the different bands to fine-tune them (Using Q1 - I think! ).

After you get all 4 bands where you want them (note: don't boost the HF more
than 3-4db, cymbals, etc. will get shrill.), then move your cursor back to "All"
(use +/- to change it to All), and then grab Q6 to adjust the overall gain for the MBCX.

If you do "kick it up" in overall gain here - go back into "One" and reset your bass (LF),
back to 3 or 4 db of boost max. This should end your low-end boom box blues.

Remember, everything here is RELEVANT - if you cut some bass, it's like boosting
everything else, if you cut some highs, it's like boosting the bass a tad (from a listening
standpoint). You should also play around a bit, listening to various portions of the song
to prevent 0db peaks. If you come up with something cool - save it as a "custom" preset!

Tip: using the same "custom" preset can "tie a project together" with the same kind of sound. Sometimes you want that, sometimes not.
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Mixing Down

When you're mixing, it doesn't matter how you recorded the tracks...
either direct or via the groups. Now you're playing back those tracks and bussing
them to the L/R master outs along with any applied FX. Call up the track(s) you want
to add FX to and (either via the Q-channel, or the channel page of the mixer screen)
raise the send for whatever FX you want to use (1 through 4), go to the group/FX fader
bank and raise the return for the same FX (1-4)...et voila!

Just remember that you do all your "mixing"...applying fx, panning, volume changes and
autromation from within the original project. It's only when you want to commit to a mix
that you need to open a new (mix) project to record to. That new project will be a copy
on two-tracks of everything you did on the original project. What's really lovely about the
way the dps is set up is that you can create as many of these "mix projects" as you wish
(the dps will even name them and keep track of them for you by giving them names with a
numerical identifier if you don't want to biother naming them!!!). Later on, you can decide
after playing back, which is the "keeper", apply mbcx (if you wish) and generate a new
project (or again...new projects).
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Mixing:

when mixing, instead or record-enabling tracks (which would make those
tracks ready to record over...not what you want to do), you are given the
option of enabling record for the destination project (the new mix project) in the
mixdown screen. I believe this is F6 under the lcd. You can set up your mix and
get everything sounding fine and then enable record for the new mix project,
press record/play and let the track roll and you'll be recording to the destination
(mix) project from the source (tracks) project.
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FX Mysteries...De-mystified!

The MBCX (multi-band compressor/expander), is a very powerful tool in the DPS,
and its algorithms require ALL the DPS processing power available. To help you
understand how to get the most out of your projects, I'll explain how I normally work
through a project. (Adjust this to fit your own personal working style!):

1) Track everything in the normal manner (using FX and/or DYN - or not, during the
tracking stage - however you tend to work).

2) After tracking, add FX and DYN, adjust your pans, levels and do any "editing" you
might want on individual tracks.

3) Run your automation passes. This includes all track fades, and channel on/off's or mutes.
Record all automation. Twice if you need to!

4) Make a 2-track mixdown of the multi-track project - with the FX engaged.
This will "print" all your projects FX into the 2-track mix. Additionally, you should use
this opportunity to get "make-up gain" on your overall project level by adjusting to get
as hot a signal as you like.

5) Open the 2-track mix of your project, and play it back - observing the dynamics
and checking to see if the levels you want are there. (Hint: You can even use EQ,
compression, and additional FX during this phase - but if you want them to "stick" -
you'll need to do another 2-trk mixdown before proceeding to the next step.

6) Setup for a mixdown of this project, enabling the MBCX in place of the FX.
Playback the project through your monitoring system and experiment with MBCX
settings like; low boost, LF X-over settings, low and high mid-boost and x-over,
and the same for HF. this is your "mastering" phase, so try and get the sound you are
looking for here. (Tip: crossover rolloff frequencies will make drastic changes in the
sonic textures of a song - also, experiment with boosting bass at 60hz, then try it again
at 80hz - at 6, 12, or 18db rolloff freqs.)

7) After you have tweaked the MBCX to your liking, make a final mixdown
of the project and burn it to CD for a test. Don't forget to save your MBCX settings
in a custom preset (I use the song title, for easy reference!), before quitting!

I hope this helps de-mystify the entire process for those without a clue.
There are many other ways to complete a project - but I have found this one a
systematic approach that workss one step at a time, and is a timesaver as well.
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