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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I found that I typically wound up turning the mix level down just a bit after having set it by first impressions, very much like setting a subwoofer level by ear.
If they don’t want to use something like the out of purist notions of fidelity, they should start to get the rest of the process right. I aphfx look up aphdx 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.
A mobile DJ might be looking to produce a heavier, more pronounced bass from a smaller system for example.
While it is good for showing what really low frequency content feels like, it wasn’t my personal cup of tea for listening pleasure. The guy selling the drivers said that there wasn’t anything technically wrong with the idea, but that I might not like the results, as it might sound a bit thin by comparison to the more common, higher Q alignments.
They might ,anual right. Daz Posted Mon 16 Qphex 13 6: The Aural Exciter’s patented technology harmonically brings out apbex desired frequencies without adding gain. 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.
This does two things. His knowledge is from years of work. OK, hero might be too strong of a word. But, there is a practical hurdle associated with manusl.
EQ is used to boost or cut frequencies to obtain or give your system a certain “Voice”. I had heard more magical, more sensual sounding equipment, but in the end avoided it, as long-term listening left me feeling as if I weren’t being dealt with honestly, as that ,anual remained constant, and such seemed to be characteristic of the gear, not the music.
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Otherwise burned out bass drivers, fried amps or at the very least lots of distortion result. 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. 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.
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.
Aphex Aural EXciter and Big Bottom User Manuals & Repair Guides – Fixya
But, back on track, How it works. I don’t mannual if the audio output of my CD player was just higher than usual, but I tended to keep the drive control on the low side, meaning shorter than recommended sustain, or quicker punch vs.
However, distortion in certain situations can actually make things sound clearer. This is the very reason the unit is adjustable. And so a question remains, why would slower bass sound more natural?
Recording engineers have been sweetening the sound of vocals as a matter of tradition, partly out of an inclination to romanticize the experience toward the immediate, and partly because the nature of a microphone seems to fall a bit short. I still have it but after I learned how to EQ in a 3-way triamped system I barely use it.
The whole combination lends itself to lots of fiddling for best subjective effect. Unlike a resonant device that keeps the signal around by stretching it out in time, the Big Bottom keeps it around by simply pushing any remaining decay, before the noise gate nipped it, up in level.
In particular, I noticed that on the “Coffee Spoons” song that the bass was punchier, more tactile, with greater weight.
I didn’t mean it as an insult. Even if you’ve got more power handling and power than you know what to do with, dynamic expanders cannot undo previous compression accurately. I aphec once fiddling around with a Mackie mixing console trying to monitor uncompressed Hungarian folk music, and with a 30 watt amp, I couldn’t get much more than moderate audio levels with the speakers just 4′ away. What I’d really want is the ability to have somebody go back and do the whole process from the beginning.
A compressor has a threshold, or a level that if the signal exceeds, it will compress that signal by a ratio, say Add that to the fact that most systems suffer from very limited dynamic range, and it really makes the practical, long-term, non-fatiguing use of a dynamic expander difficult.