Manuals and user guides for Aphex professional audio equipment. , Aural Exciter and Optical Big Bottom, User Manual. , Two Channel Tube Mic and. aural exciter and big bottom. optical. Instruction Manual P/N Revision 2 Released 09/01/ Manufactured by. Aphex Systems Ltd. When we originally modeled the unit, replicating its sound in both insert and aux send/return modes, we realized that each mode had its own unique sound.
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Forum: General Discussion
Otherwise burned mamual bass drivers, fried amps or at the very least lots of distortion result. I do like the fully adjustable nature of the unit, particularly since I consider it necessary, but I resent that I must touch the thing. The most common anecdote is the top and bottom of the spectrum cranked, in a smile type curve, but I’ve seen graphic equalizers get set to all kinds of interesting patterns.
Like anything else if its used to extremes it can screw the sound just as badly as the Smiley Face setting on a Grqphic EQ. Deep bass aficionados will probably want to keep this on the low side, though turning it higher adds a little smack to the mid-bass.
Instead of extending frequency response by boosting the lowest frequencies, they essentially look at your lowest frequencies and generate frequencies at half of that.
Remember, most people make decisions about what new CD to purchase based on what they hear on the car radio to or from work. Graphic EQ should be used to help match the system to the environment you are working in.
If you’re getting distortion from clipping in a playback system, either your power amplifier is not up to task, your gain settings are screwed up somewhere in the chain, or a piece of gear is broken.
Used sparingly synthesizer units work wonders but over doing it lands you in a whole world of pain. When defeating the process for comparison, the results were monotonous and less interesting.
Multiple times we arrive upon a particular elixir, and the music sounds like music. Vengeance is a Aphrx Best Served Cold Although I had agreed to take a listen to this mystery machine during several manuwl our always interesting for me conversations spanning many months, the arrival of such a device did not materialize, and I moved on.
But, the point is that tubes do indeed sound good in such a case where the harmonic distortion is substantial enough to hear but not so high as to be noticed as distortion.
Consider, though, that perhaps that perceived speed wasn’t really all that fast, objectively speaking.
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The Mix level determined whether our effect came out as a dash, sprinkle, spoonful, or downpour. However, the kick drum seemed to benefit from more of the Big Bottom, helping to fill out the bass, make transients richer. Use the Graphic to find and adjust out troublesome frequencies or gently raise system response to improve clarity. That might be a distortion of context, but it’s never stopped members of the press before, particularly members of right wing extremist groups.
For individual sounds or entire mixes, the Aural Exciter brings out detail, clarity and imaging that elevates your sound without adding level. When it comes to live sound, if he’s talking about it, I’m reading it. That signal then goes onto the harmonic generator that somehow or another targets transients.
I’m saying that it makes things sound better because it’s extremely not neutral at all. Changes of more than 6dB indicate real problems and if you find you need 12dB of boost at 63Hz then the system is not able to fill the space with the amount of bass desired. Seuss’s Onceler and the bass gets thick like molasses and difficult to distinguish.
OK, hero might be too strong of a word. I, of course, assumed myself simply more discriminating than their average clients, and opted to ignore him, only to realize later that he was right. Playback on a system with fairly flat, extended frequency response, low distortion, and let alone any kind of soundstage, is rarely the case.
But, of the single components I’ve seen that exist for the purpose of enhancing the listening experience, this is one of the most useful I’ve met.
Since the is meant to do identical processing with stereo content, the phase shifting would conceivably only affect the degree of depth, and from what I can tell, it’s a relatively subtle effect compared to the more drastic implementations that use all out reverb, subtle or not.
Posted Tue 02 Sep 08 8: I was on the plate, apple in mouth. But you can get better sound yet and you will find more usefull a good eq, dbx makes very good eqs for their price range. Where is our power as consumers?
Any comments will be appreciated Both effects can if used correctly make a positive contribution to the sound without using any extra power. A compressor has a threshold, or a level that if the signal exceeds, it will compress that signal by a ratio, say JJ pays for articles, but I’m too slow to make a living at it. When I get my remote to control Windows Media Player on a machine with a reasonable sound card, I’ll get you’re the right track names.
Great for generating earth shaking Sub Bass but if your amp and speaker setup is not up to scratch then things get fried. It’ll bum you out for a week. It’s likely that some recording studios do use thebut from what I’ve heard, not enough, and those that do, don’t do it well. However, I suspect that on some level my remarks may have peeved a pickle or two.
I’m not one to get judgmental about what other people like, so long as they keep their personal preferences as such and don’t pretend to use it as proof of what others should be doing. Our Vault pages may have some display quirks. So, if I get the song name wrong on a particular album and you catch it, chances are you probably know the right name, so give me a break and worry about something important.
You can also adjust that enhancement, or tailor the effect to complement the particular recording.
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So, where are we? We apply a kind of mqnual gate so long as there’s content, when the decay drops farther the sustain shuts off. The fact that the Aphex can inject so much of that magic at will, tailored to taste, seems to prove my point. Certainly, but it seemed like most recordings translated better with that higher Q, punchier bass.
Come to think of it, I think I got the worst of that deal as well. Used properly, it’s no mere boom boom, tizz tizz xphex.