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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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. Use the Graphic to find and adjust out troublesome frequencies or gently raise system response to improve clarity.
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Even if you’ve got more power handling and power than you know what to do with, dynamic expanders cannot mahual previous compression accurately. Mnual on mixes, it adds power, presence and sparkle.
Until I get all of mqnual CDs on hard disc, I’ve got them loaded in a changer. The only polyester pants I ever owned were made by Ben Davis. But, we all know about paths of good intentions. 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. Let’s go back to the side chain.
This is the very reason the unit is adjustable. 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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It’ll bum you out for a week. I can look up any artist or album name via my remote, but since I entered all the information manually on a spread sheet, laziness prevented me from including the more numerous individual track names.
Used sparingly synthesizer units work aphx but over doing it lands you in a whole world of pain. Daz Posted Mon 16 Dec 13 6: I found that I preferred it set at or just below half way.
Unfortunately, that particular article has also been abused in popular high-end rags to advance an esoteric agenda more than a couple times. If this were a straight compressor, that’d be really annoying, as it’d crush whatever dynamic range we had to begin with. The Aphex enhances what already exists. There’s no remote, no RS communication, no presets to access, no automation at all. Since its introduction inclose to a million Aphex Aural Exciters have found their way into recording studios and broadcast facilities, nightclubs and concert halls, arenas and airports, musicians’ and DJs’ rigs and houses of worship.
During this period of the song, the Aural Exciter brought the voice just a little more out of the box and emphasized the distortion. I think it would be false to claim that the does everything you’d ever want in terms of sprucing up all but your 10 best recordings. In a mo’ less nuttier shell without the fluffy flattery, it creates harmonic distortion selectively, targeting transients while leaving continuous tones more alone.
It’s a delightful band-aid, but it’s still a crutch, and the fact that I’ve been shown, yet again, how broken our legs are is very much irritating. Consider, though, that perhaps that perceived speed wasn’t really all that fast, objectively speaking. The Aphex is not an EQ iether. What it imparts is extra thump and weight. If you’re going to use one of these, you’re going to have to keep it nearby the listening spot, preferably with the ability to swing it out on your lap, and it doesn’t give a hoot if your equipment rack is on the other side of the room, or in a closet in another room.
I know the peavy smoked them both in a shootout in one of the live sound magazines I was reading. The vocals increased in clarity, and the clarinet lit up its own life.
I say initial experience because dynamic expanders have an inherent problem. Although I had agreed to take a listen to this mystery machine during several of our always interesting for me conversations spanning many months, the arrival of such a device did apbex materialize, and I moved on.
Perhaps it’s related to my preference for the low drive, compensating the shortness of extra sustain by apphex amplitude, or maybe I just like the Big Bottom effect more than most people.
Eventually, I got to it. However, from a listening experience it may be of benefit that the bass be slow enough to catch our attention. But, like any tool with substantial capabilities, the Big Bottom and especially the Aural Exciter can do way too much. His explanations are simple and to the point, without weighing the conversation down with manua, boat load of technical information. And so a question remains, why would slower bass sound more natural?
You can still do that, if manuxl want, but I think turning a knob or two, though still inferior to a full RS interface and command set, is an easier option.
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When defeating the process for comparison, the results were monotonous and less interesting. I won’t say there’s anything necessarily wrong with this family of enhancers. We maintain the leading edge speed and dynamics of the initial attack, force the decay, and the average bass level up so that our ears have more time to notice the hit, but don’t lengthen the duration of the signal beyond what’s actually on the recording.
As I’ve auditioned many piece of gear in an obsessive quest for audio inner peace, I have gravitated toward what I felt were more neutral, more reliable components, but the side effect is that because most recordings lack anything of drama, the presentation follows.
Posted Tue 02 Sep 08 1: This serves as the filter that determines what frequency range is going to undergo the harmonic enhancement.
Aphex Aural EXciter and Big Bottom User Manuals & Repair Guides – Fixya
So, where are we? For terrestrial and satellite broadcasters, the Aural Exciter provides the mabual articulation necessary to deliver crisp, clear signal in the face of today’s digital broadcasting challenges. Despite having worked myself into a rather upset state with the precariousness of a product that has the potential to render a listener dependent on a constant fix of one more box, in my incredulousness at standards of the music recoding industry in general, I can only demonstrate my opinion that the processes offered by the Aphex are of undeniable benefit to the recreational listener.
As a side benefit, it’s also validated my philosophy regarding playback equipment.
While it is good for showing what really low frequency content feels like, it wasn’t my personal cup of tea for listening pleasure. Apnex the doesn’t just add harmonics at peaks.
The fact that the Aphex can inject so much of that magic at will, tailored to taste, seems to prove my point. This is a great piece of work, in my opinion, and the made it just that much better.
Ben Harper sounds like he’s not only using old equipment, but that they recorded aphec inside a little box. Unlike most of the manufacturers of tweaks and upgrades available in the high-end consumer market, be they components or accessories, Aphex is entirely honest about the nature of what their product does.
It supposedly targets transients, low or high in amplitude.