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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JJ pays for articles, but I’m too slow to make a living at it. When it comes to live sound, if he’s talking about it, I’m reading it. What is the Aphex ?

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If they don’t want to use something like the out of purist notions of fidelity, they should start to get the rest of aphed process right. Considering that thresholds and ratios are twiddled all over the place, and recordings are compressed many times over in many different ways may compress a track, then compress the whole mix all over again, then compress it more on masteringit’s pretty much a guarantee that you won’t be able to get anything natural-sounding out of a dynamic expander, regardless of the extra excitement.

Subjectively, it sphex kind of like adjusting the thickness of the soup base. What audiophile in his or her occasionally right mind is going to consciously sign onto the philosophy that a little more wrong might just be right?

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. You can still do that, if you want, but I think turning a knob or two, though still inferior to a full RS interface and command set, is an easier option. I could possibly then defend myself and counter by pointing out that others have preferred the same, but without the honesty, but what’s the point?

After all, if you dig up a favorite high-end review where the reviewer went bananas about the bass quality, terms describing speed and dynamic impact janual to go hand in hand. Good kit but totaly different job. If you want to get “better” sound with just of a press of a button, get it.

Deeper, more resonant bass response with tighter articulation helps to extend low frequency power and spectrum without the build-up or driver-damaging tendencies of bass EQ.


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I owned a very effective tube saturator that sounded absolutely splendid with many recordings, adding warmth and texture to pretty much anything I threw at it. Recording, Mixdown and Post Production – The Aural Exciter was born in the recording studio, and its legacy is founded on thousands of legendary recordings bearing the unmistakable Aphex sound.

At first you look to hear the effect, and then you want something more subtle. Sure, whatever, how could it hurt? Maybe I’m just a speed junkie. In most cases, we’re lucky if it’s even pleasant under the spectacles of a high fidelity audio system.

The only polyester pants I ever owned were made by Ben Davis. Up until then, the conversation was delightful. The answer is to go get a Sub or add more Sub’s and enough Amp power to do the job, not drive an already straining system harder.

As an opposite function, an expander will increase the level of a signal when the input rises above a threshold by a particular ratio.

Over three decades of research, development and refinement have kept the Aural Exciter at the cutting edge. So, I agree that there should be some compression on the final mix as a matter of practical reality, but in most recordings, tracks are compressed, recompressed, and then compressed again, including the mastering stage.

As a side benefit, it’s also validated my philosophy regarding playback equipment.

But unlike an EQ, the Aural Exciter’s harmonic processing doesn’t boost the signal’s output level, so it maintains a clear and balanced sound. A compressor has a threshold, or a level that if the signal exceeds, it will compress that signal by a ratio, say The Aural Exciter works its magic through a side chain. Picking up on a qualification I made about accurate equipment not helping bad recordings sound good, or even interesting, shortly after that review Barry started yammering about this Aphex company and a gizmo capable of breathing life back into recorded music, almost as if it could put back what was lost in the recording process, and at a minimum do a pretty good job at faking it.

Engineers and producers have used the Manuxl Exciter to bring out vocals; and on instruments from acoustic to electric and eclectic to exotic.

Forum: General Discussion

I was once bamboozled out of a pair of loudspeakers in trade for another pair when I auditioned the speakers for trade with just such a device. Posted Tue 07 Oct 08 It’s nice to have access to it, but we shouldn’t need it!


I know the aphes smoked them both in a shootout in one of the manuual sound magazines I was reading. Why can’t Ralph Nader take on the less conscientious recording engineers and champion the few good ones who not only know what they’re doing, but really do care?

I’m not one to get aphec 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. Poor microphones, habitual, routine and thoughtless processing, or simply lousy DSP implemented without nanual for sampling delay between processors, and it’s a wonder we get as many listenable recordings as we do.

Otherwise burned out bass drivers, fried amps or at the very least lots of distortion result.

I use 31 band EQ to level and voice the system then fire up the Aphex to add that extra little bit of clarity. Without a doubt, with the disengaged, the performance was a less engaging experience.

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The obvious conclusion was that Jewel has a crush on me, and she’s got it something bad. His explanations are simple and to the point, without weighing the conversation down with a boat load of technical information. Aphe Onceler and the bass gets thick like molasses and difficult to distinguish. It was a really good article, if not a bit misplaced in consumer electronics, as it was actually talking about how the distortion spectra behaved when the distortion levels were relatively high as a result of clipping.

All the way down obviously defeats the purpose.

Boosting output at, say, 40 Hz, by 6 dB will have a noticeable effect, but it may or may not be enough, and the cost is substantial. Like the Aural Exciter, the Big Bottom also processes through a side-chain, so that the original signal passes on through, and you add the processed effect to taste at the end of the chain. For live and recorded web streaming, the Aural Exciter adds the definition and dimension that’s so often lost in the compression of today’s Internet audio.