Aphex Channel Instruction Manual download pdf (Page 14)

230

instruction Manual

Aphex Systems Ltd. Model 230Page 12

230

master voice channel

Page 13Aphex Systems Ltd. Model 230

bandwidth by lowering the Q to properly reduce the

annoyance.

4.11.3 Aural Exciter

Clarity, presence, and loudness can all be enhanced

by the Aural Exciter.

First start with the AX Mix at 12:00. Next, sweep

the Tune to find the best tonal balance. Presence is

best augmented with lower tunes. Air is added with

higher tunes. Finally, readjust the AX MIx for just the

right amount of brilliance. Always err on the con-

servative side. Use the in/out switch to compare the

plain signal to the enhanced in order to keep from

getting carried away with the effects.

4.12 USING THE LEVEL CONTROL

Once all the processing is adjusted the way you want

it, the output level may be a little high or low. Switch

the front panel meter to PK and adjust the LEVEL

control to obtain peaks that don’t go above -6dBFS.

Alternately, set the LEVEL for 0VU on your console or

recorder’s analog meter.

4.13 CLIP/MUTE LIGHT

If the LED is flashing RED, then the internal operating

level is too hot. This can only occur if the insert return

signal is too hot or if the parametric equalizer is

boosted way too much. This same LED will also flash

yellow while the model 230 is in the MUTED state

activated by the COUGH SWITCH (rear panel jack).

4.14 USING THE DIGITAL OUTPUT

Refer to the installation guide for setting up the

sample rate and word clock options.

it uses split band techniques to attenuate only the

sibilance, while leaving the body of the voice alone.

Operation of the de-esser is simple. Just set the

threshold to the point where you want the esses to

limit out. Reducing the threshold setting brings down

the level of the esses dynamically. In other words, it’s

like an automatic downward shelving equalizer. It

stays flat until the ess level gets too high and then

introduces the shelf at the level needed to limit the

sound to the threshold level. It has internally set

attack and release characteristics that are optimum

for voice sibilance control. When there is de-essing,

the LED is lit.

4.11 USING THE EQUALIZER BLOCK

Once the voice signal passes through the dynamics

processing, i.e., the compressor, gate and de-esser,

it encounters the three equalizer elements. The first

element of is the Big Bottom low frequency enhancer.

Next is a parametric peak/dip section, and last is the

Aural Exciter top end enhancer. The whole block is

bypassable by the BB/EQ/AX on/off pushbutton.

4.11.1 Big Bottom

Some voices have no low bottom end. In such cases,

the Big Bottom won’t synthesyze a new low end for

you and should not be used. However, voices that

contain a deep chest resonance can be augmented

by the Big Bottom.

Start by turning up the BB Mix to 12:00. Then adjust

the BB Tune to find a frequency that lifts the bottom

without adding a muddy quality. Last, reduce the BB

Mix until just the right touch of bass enhancement

is felt.

4.11.2 Parametric Equalizer

This is a familiar and conventional EQ section. You

can vary the peak/dip frequency, bandwidth and

magnitude. Parametric Equalizers are best used to

dip out annoying sounds rather than trying to peak

up what’s lacking. The Big Bottom and Aural Exciter

are much better at augmentation.

Usually the easiest way to use the parametric is to

first set the Q to a high value (narrow bandwidth)

and set the boost to full up. Then, sweep the fre-

quency until you identify the sound that is annoying.

Then, dip the sound out. You may need to widen the

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Aphex Channel Instruction Manual Page 14

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