Aphex Channel Instruction Manual download pdf (Page 13)

230

instruction Manual

Aphex Systems Ltd. Model 230Page 12

230

master voice channel

Page 13Aphex Systems Ltd. Model 230

Using the 230

have remarked about how much better voice tracks

ride over the mix, and how much fuller and deeper

they seem with the SPR. There is no actual frequency

response alteration. It is all in the ear, but it works.

The amount of effect varies from none to a lot

depending on the voice and the sound medium. You

just need to try it to see.

Some words of advice: When doing voice work

while wearing headphones, the Phase Rotator will

affect how you hear yourself far more than it actually

alters your voice. That’s because the body-conducted

sound mixes with the sound from the “cans”. When

the two sounds are out of phase, there will be partial

to full cancellation at various frequencies. Just as you

experience the effect of switching polarity, turning

on the phase rotator will have a pronounced effect.

You should evaluate the phase rotator by auditioning

recorded tracks made with and without the rotator

effect.

4.8 USING THE COMPRESSOR

The 230’s compressor is probably the simplest one

to use that you will ever see. Nevertheless, it is more

sophisticated than compressors with many more con-

trols. The Easyrider compression algorithm automati-

cally adapts to voice waves in a manner that greatly

reduces any pumping effect while it tightens the

average level very flatteringly.

There is only one obvious control: RELEASE. However,

the mic pre’s GAIN control doubles as the compres-

sion drive adjustment. To get more compression

depth, run up more gain. The RELEASE control allows

you to chose the aggressiveness of the compression.

For thick and loud, go faster. For more natural and

“open”, go slower.

The gain reduction is displayed on the 230’s 10 seg-

ment bargraph meter when the METER switch is

depressed.

When considering how much gain reduction you

should use, take into account your purpose. If the

230 is used for close-miked production, then set up

the gain reduction as lightly as is needed to get a

punchy track. If the 230 is for the on-air studio, then

you might want to max out the gain reduction to

allow for wandering jocks that don’t constantly stay

“on mic”. Running higher GAIN/DRIVE will, of course,

raise the background noise when the compression is

released. This can be somewhat mitigated by using

the Gate, but don’t expect too much. The Gate does

its best work when the compression drive is moder-

ate, as with close-miking uses.

4.9 USING THE LOGIC ASSISTED GATE

If you’ve worked with gates before, you probably

know how frustrating they can be, especially with

voice work. Finding the threshold and attack set-

ting that doesn’t clip the first sound and still reliably

gates out the noise is usually difficult and the settings

are unstable. Aphex’s Logic Assisted Gate solves all

that for you very simply. The 230’s gate trigger is

absolutely positive because it’s independent from

the energy content of the sound peak. The slightest

tickling of the threshold by the soundwave triggers

a chain reaction that forces the gate’s attack-hold-

release sequences to perform completely and repeat-

ably. That makes finding the right threshold fast and

easy. The attack, hold, and release timing have been

pre-optimized for voice. All you need to set are the

threshold and depth of gating.

You will probably find the depth of gating is not really

critical for most purposes. However, here are a few

suggestions about setting it. If you want complete

silence between phrases, then use the maximum

depth. However, if you simply want to bring down

ambience pickup as with multiple open mics in a

room, then use minimal depth. That will guaran-

tee that at least some of the talker’s voice will get

through even if the talk level is too low to trigger

the gate. When the gate is closed or closing (block-

ing), the LED indicator is lit. When it is open (passing

audio), the LED is dark.

4.10 USING THE DE-ESSER

Sometimes you really need this function. Certain mics

are too harsh in the upper range and some voices

tend to whistle or splatter. We have found that the

sibilance frequency range centers around either 6kHz

or 10kHz depending on the voice. Conventional de-

essers simply detect the presence of any frequency

above some tuning point and duck the whole voice

signal accordingly. This technique is readily adaptable

to a standard limiter, and that is why you generally

find de-essers associated with another limiter func-

tion, and not standing alone.

The 230’s de-esser is different. First, it is not associ-

ated with another limiter. It stands alone. Secondly,

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