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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 didn’t really like the higher harmonics settings for much of anything. This serves as the filter that determines what frequency range ,anual going to undergo the harmonic enhancement. Used properly, it’s no mere boom boom, tizz tizz widget.

Multiple times we arrive upon a particular elixir, and the music sounds like music. Being able to make that change with a turn of a few knobs saves time, effort, money, and some degree of sanity. The vocals almost shined with highlights and msnual intelligibility.

Forum: General Discussion

However, it is not debatable that with any system that can be considered in the accurate camp, the listener will hear the recording more or less as it is, most often an artificial reproduction, for better or worse, and in the overwhelming proportion of musical content, it is far from realistic. Traditional EQ increases the output level of the targeted frequencies.

A kick drum is an easy example, but the general habitual overuse of noise gates and compressors is a problem, particularly to us audiophiles who don’t really care about 30 watt amplifiers and speakers to match.

By the mere fact that information must be synthesized, i. JJ pays for articles, but I’m too slow to make a living at it.

First, it minimizes noticeable background noise. Overview Tech Specs Gallery Downloads.

Intentional repetition for effect, now Pause. I know the peavy smoked them both in a shootout in one of the live sound magazines I was reading. Where is our power as consumers? 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. I should have kept it around to keep in a tape loop as an analog two-channel enhancement mode, available on my touch panel right next to Anthem Music Logic.

Aphex Aural EXciter and Big Bottom User Manuals & Repair Guides – Fixya

It stretches the envelope of each bass beat or hit so that the decay of each note is held for slightly longer. Installed Sound – Ideal for adding intelligibility and clarity to challenging spaces and loudspeaker placement, the Aural Exciter can deliver audio clarity under the most demanding conditions. Unfortunately, it also made specific placement of items within the soundstage so vague and overblown that when I found what I could do with a good stereo array using the reverb actually in the recording, I eventually chose to do without the holography.


Let’s go back to the side chain. How it does this, I haven’t a clue.

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. What you choose depends totaly on what you are trying to achieve: Because most people don’t have a freaking clue, let alone give a darn. 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.

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. 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. Turning the level up just enough lifted the immediacy and presence of the performance forward, toward the listener, almost like the vocalist was sitting up, opening her shirt, and making an effort to enunciate between flirtations.

As the is fully adjustable, to the point where you can make it do nothing at all, if you adjust to fit the recording optimally, the worst scenario is that it doesn’t sound worse, and as I mentioned before, a tape loop or such makes it possible to actually have no extra path at all with the touch of a remote button.

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 vocals increased in clarity, and the clarinet lit up its own life. I later rebuilt a pair of standard boxes one driver, one cabinet with 3. During the next track, “Steal My Kisses”, the opening spit box performance had more spit through the Aural Exciter, and the Big Bottom put more kick in the kick drum. Units like the Peavy and BBE do not do the same thing.


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 magic remained constant, and such seemed to be characteristic of the gear, not the music. You won’t be disappointed at all. It doesn’t restrict the speed or manuwl range at all during the leading edge of the attack, and so we get our fast hit, theoretically, but it does keep that following decay around just a little longer, and how it does this is really interesting indeed.

I won’t say there’s anything necessarily wrong with this family of enhancers. I still have it but after I learned how to EQ in a 3-way triamped system I barely use it. As I’ve auditioned many piece of gear in an obsessive apheex 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. Aphex is very clear that the is used entirely and exclusively for subjective enhancement it feels good.

Without a doubt, with the disengaged, the performance was a less engaging experience. It’s not quite like reverb, though in a basic sense it can have a similar effect without messing up the sense of specificity in the sonic image, if the delay is equal in both channels. Posted Tue 17 Dec 13 3: Come to think of it, I think I got the worst of that deal as well. The Aural Exciter has three controls: Changes manusl more than 6dB indicate real problems apjex 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.

Deeper, more resonant mabual response with manial articulation helps to extend low frequency power and spectrum without the build-up or driver-damaging tendencies of bass EQ. 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 manuzl taste at the end of the chain.