204 Solution Delivery Series aural optical exciter and big bottom Instruction Manual P/N 999-4140 Revision 2 Released 09/01/2001 Manufactured by Aphex Systems Ltd. 11068 Randall St. Sun Valley, CA 91352 USA S Y S T E M S Copyright 2001 Aphex Systems Ltd. All rights reserved. Produced by: Donn Werrbach. Creation tool: Adobe InDesign 1.5. Printed by: Stuart F. Cooper Co., Los Angeles.
04 instruction Manual Safety Declarations CAUTION: For continued protection against risk of fire, replace only with the same type and rating of fuse. ATTENTION: pour une protection continue contre les risques d’incendie, ne remplacer qu’avec la même valeur et même type de fusible. WARNING: This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules.
Aural Exciter and OPTICAL Big Bottom 204 A MESSAGE FROM THE PRESIDENT Dear Aphex Customer, We are very pleased to have been able to create the Model 204’s unique, powerful processing and deliver it to you in such a cost effective package. Years of research and development, as well as over 20 years of direct experience in the recording, broadcast and PA fields produced the latest refinements of the Aural Exciter and the development of Optical Big Bottom.
204 instruction Manual ATTENTION This instruction manual is intended to be a complete reference on the Model 204. We encourage you to read it! If you don’t, at least peruse the Table of Contents to familiarize yourself with the scope of information available to you. We want you to get the fullest measure of satisfaction from your new Model 204. To that end, this manual was written to anticipate most of the questions and problems users are likely to encounter.
Aural Exciter and OPTICAL Big Bottom 204 Table of Contents 1.0 QUICK START With Big Bottom 1.1 Simple Hook-up and Settings ............................................................................................. 6 2.0 INTRODUCTION 2.1 The Aural Exciter Legacy ...................................................................................................... 8 2.2 The Aural Exciter and Big Bottom Technologies Explained .................................................... 8 2.
204 instruction Manual 1.0 Quick Start 1.1 SET UP To get started fast, first pay attention to unpacking and inspection covered in section 2.3. Then, follow the wiring diagram for an in-line application shown below. If you need to run the Model 204 with an insert patch instead, refer to section 5 for more information. Finally, refer to the control settings below to get your Model 204 sounding great.
Aural Exciter and OPTICAL Big Bottom 204 Quick Start In-Line Hookup to Rear Panel From Outputs of Other Line Level Devices to 204’s Inputs Use balanced or unbalanced cables as needed. Consult section 7 for wiring options. Select the correct OPERATING LEVEL to match your interconnecting equipment. Both the outputs and inputs are switched simultaneously. AURAL EXCITER TUNE CONTROL Adjusts the frequency range of the effect. Tune lower for more mid pickup and presence. Tune higher for an airier sound.
204 instruction Manual 2.0 Introduction 2.1 THE AURAL EXCITER LEGACY Congratulations, you have just purchased the latest in Aural Exciter technology, combined with the one and only Big Bottom circuit. Aphex Systems, Ltd. started doing business in 1975 with the introduction of the Aural Exciter, which has become a standard in the professional audio industry.
Aural Exciter and OPTICAL Big Bottom 204 Introduction SIMPLIFIED SIDECHAIN DIAGRAM Input Original Signal SUM Output Sidechain Processing ics. Our latest patent, the Transient Discriminate Harmonics Generator, recognizes transients (transient discriminate) over a wide dynamic range and generates harmonics on them. The result is a more predictable and natural sounding enhancement over a wider range of inputs.
Page 10 Tune 50Hz-190Hz Tunable Lowpass Filter Tune 800Hz-6kHz Tunable Highpass Filter Mix Mix Variable Drive Phase & Dynamics Processor Variable Harmonics Transient Discriminate Harmonics Generator +4/-10 Operating Level Switch SUM 1/4” TRS XLR-3M Active Balanced Outputs Effects are created through dynamic phase, frequency, and amplitude modification and recombination. Big Bottom Sidechain Aural Exciter Sidechain 1/4” TRS XLR-3F Active Balanced Inputs 2.
Aural Exciter and OPTICAL Big Bottom 204 3.0 Installation & Interfacing 3.1 INSTALLATION The Model 204 occupies a single rack space (45mm or 1-3/4 inches) of a standard EIA equipment rack. When rack mounting, use appropriate cushioned rack screws. Never restrict air flow through the device’s fan or vents. When installing the units into a rack, distribute the units evenly. Otherwise, hazardous conditions may be created by an uneven weight distribution.
204 instruction Manual Installation & Interfacing ating distortion. In the reverse situation, connecting a -10dBV output to a +4dBu input will tend to increase the noise floor, thus degrading the systems signal-to-noise ratio. In general, most entry level “home studio” equipment operates at -10dBV as it is assumed that the user will likely intermix home hi-fi equipment, such as cassette decks and CD players. Most professional recording gear and live sound equipment operates at +4dBu.
Aural Exciter and OPTICAL Big Bottom 204 4.0 Controls & Indicators 4.1 FRONT PANEL VIEW 4.2 BIG BOTTOM TUNE CONTROL This control lets you optimize the bass enhancement frequency band. Where this is set depends upon your sound system and the type of music being played. Typically, 12:00 is a universal position. However, you may want to experiment with other settings. The range is from 50Hz to 190Hz. At center, you are tuned to about 110Hz. 4.
204 instruction Manual Controls & Indicators 4.4 AURAL EXCITER TUNE CONTROL The Aural Exciter Tune control adjusts the corner frequency of the high pass filter, thus setting the range of frequencies being enhanced by the Aural Exciter. The range of the corner frequency is 800Hz (fully counter clockwise) and 6kHz (fully clockwise). The 12 o’clock setting is approximately 3kHz. As the tune control is adjusted clockwise, less and less midfrequency enhancement will take place.
Aural Exciter and OPTICAL Big Bottom 204 5.0 Operation & Applications 5.1 IN-LINE PATCHES The Model 204 has two independent channels. Each channel contains one Big Bottom circuit and one Aural Exciter circuit. Each channel may be used on completely different input signals. When the 204 is used on a stereo mix, match the settings of the controls on each channel. The Model 204 is typically used as an in-line device, see illustration below.
204 instruction Manual Operation & Applications WIRING A TRS INSERT CABLE Tip IN Sleeve (Ground) Tip Console Insert Jack Sleeve Sleeve Sleeve Tip Ring Ring (Return) OUT Note: Some manufacturers reverse the Tip and Sleeve connections, where the Tip is Return and the Sleeve is Send. This would mean that IN becomes OUT and OUT becomes IN when referring to the previous drawing. Be sure to check the owner’s manual of your console. 5.
Aural Exciter and OPTICAL Big Bottom 204 Operation & Applications 5.3 EFFECTS LOOP PATCHES (cont.) SEPARATING THE AURAL EXCITER & BIG BOTTOM EFFECTS The following illustrates how you can use Big Bottom and Aural Exciter separately on different effects sends. Let’s assign Effects (or AUX) Send 1 to the Aural Exciter and Effects (or AUX) Send 2 to Big Bottom.
204 instruction Manual Operation & Applications When the Aural Exciter is used on individual tracks it’s best not to overprocess exactly the same range frequencies with the tune control during the final mix. If you already processed individual tracks with a 204 try starting the final mix with the Tune control turned fully clockwise which is approximately 6kHz You should get a spacious, three-dimensional mix with an open “airy” quality. 1.8K 2.3K 3.4K 1.1K 4.
Aural Exciter and OPTICAL Big Bottom 204 Operation & Applications Using Big Bottom on bass instruments tightens the sound, allowing individual notes to be more articulated and recognizable. Big Bottom provides more feeling, resembling a “live” sound. In the recording studio, post production suite or similar environment, post processing of previously recorded sound tracks can restore lost vibrancy and realism, even to the extent of saving dialog or sound effects which were thought to be unusable.
4 instruction Manual Operation & Applications If you use a compressor for smoothing out dynamics it should go into the audio chain before the Model 204. If you are using a limiter for system protection it should be the last thing in the audio chain before amplification. Note: The previous illustration depicts an in-line audio path. Most mixing consoles offer Master Bus Inserts for processing. 5.
Aural Exciter and OPTICAL Big Bottom 204 Operation & Applications 5.10 NIGHTCLUBS AND DISCOS The Model 204 is great for smaller sound systems with a limited dynamic range and frequency response. You’ll be surprised how much more bottom end you’ll have without adding more speakers and amplifiers. No matter how good the sound system is, adding the Model 204 will improve clarity and intelligibility without increasing levels. Big Bottom inexpensively increases the bass capacity of any sound system.
204 instruction Manual Operation & Applications 5.12 TAPE DUPLICATING Tape copies actually sound better and brighter than the original if they are first processed by the Aural Exciter. Moreover, there is no generation loss! Chances of tape saturation are minimized as there is little high end boost, which is common in other enhancers. The Model 204 may be used to “pre-process” recording to anticipate the audio degradation in the medium or during subsequent reproduction.
Aural Exciter and OPTICAL Big Bottom 204 6.0 Warranty & Service 6.1 Limited Warranty PERIOD One year from date of purchase SCOPE All defects in workmanship and materials. The following are not covered: a. Voltage conversions b. Units on which the serial number has been defaced, modified, or removed c. Damage or deterioration: 1. Resulting from installation and/or removal of the unit. 2.
204 instruction Manual 7.0 Appendices Appendix A: Balanced and Unbalanced Lines and Operating Levels Interfacing all types of equipment with balanced and unbalanced lines and can sometimes be troublesome. First you have to somehow connect balanced to unbalanced and then you have to deal with different levels. This tutorial will teach you about the principles of balanced and unbalanced lines, wiring standards, and how to effectively interface them.
Aural Exciter and OPTICAL Big Bottom 204 Appendices Balanced transmission works something like this. Your balanced input stage looks at the two wires and detects only the potential (voltage) difference between them. Anything that is the same on the two wires (for all practical purposes as seen measuring from ground) is called a common mode signal and is cancelled out by the differential amplifier. Figure 1 illustrates how the hum is induced into both wires equally and therefore is cancelled out.
204 instruction Manual Appendices Appendix B: Dealing With Grounds and Hum Ground Loops Many people equate this term with hum, and that’s just about the bottom line of it. If you have a ground sensitive system, like unbalanced audio equipment for example, then hum will result from ground currents that flow from the ac power system. It is sometimes very difficult to isolate and stop ground currents between unbalanced equipment, but it is quite easy to clean up balanced gear.
Aural Exciter and OPTICAL Big Bottom 204 Appendices Redirect Ground Loops Sometimes it just comes down to brute force grounding. That means providing such heavy, low resistance, ground current paths that little current is left to flow through your audio grounds. You can try adding heavy gauge, for example 12 gauge, copper wire from chassis to chassis. You will need to locate a metal screw that solidly binds to the metal chassis of the gear.
204 instruction Manual Appendices TABLE 1: The following wiring convention is now standardized in 17 countries including the USA. Please note that any equipment that still uses Pin 3 as positive on XLR connectors is not adhering to the standard.
Aural Exciter and OPTICAL Big Bottom 204 Appendices has in fact become modern practice and all balanced inputs are normally running 10K ohms or higher impedance. Because of these developments, it is now no longer as critical to consider impedance when dealing with interfacing pro line level equipment (impedance “matching” is mostly a requirement of the past).
204 instruction Manual Appendices TABLE 2 - - TYPES OF ACTIVE BALANCED INPUT/OUTPUT CIRCUITS & INTERFACE WIRING OUTPUT TYPE WIRING DIAGRAM (Interface from OUTPUT to INPUT) INPUT TYPE Resulting Interface METHOD / LEVEL Wire: single conductor with a shield (coax style) 1 POSITIVE (HIGH) Unbalanced SHIELD (GND) Unbalanced Wire: two conductor with a shield (twisted pair) 2 Unbalanced POSITIVE (HIGH) NEGATIVE (LOW) SHIELD (GND) Unbalanced Pseudo Balanced Balanced (see Note 4 for Unbalanced wirin
Aural Exciter and OPTICAL Big Bottom 204 Appendices NOTES The following notes are referenced in the text and in Table 2 on the preceding pages. Note 1: ADDITIONAL READING SUGGESTIONS: Sound System Engineering by Don Davis and Carolynn Davis (Howard W. Sams and Co.), Handbook for Sound Engineers (The New Audio Cyclopedia) Edited by Glen Ballou (Howard W. Sams and Co.) and Sound Reinforcement Handbook by Gary Davis and Ralph Jones (Hal Leonard Publishing Corp.).
204 instruction Manual Appendices Appendix D: Back To BASS-ICS by Marvin Caesar Think of a sound system with incredible bass. Are you imagining the sound of the bass or are you imagining how the bass would feel? If you are imagining sound, then you are thinking too high in frequency. The bass referred to in this article causes a visceral response. For those who don’t relate to feel (and won’t eat quiche), these are bass frequencies lower than 80Hz.
204 Aural Exciter and OPTICAL Big Bottom Appendices Big Bottom is a relatively simple circuit. The signal is split into two paths. One path goes to the output unmodified, while the other path goes through a frequency shaper, a phase shaper, and finally a dynamics processor. The output of the dynamics processor is then mixed back into the unmodified signal.
204 instruction Manual 8.0 Specifications 8.1 GENERAL SPECIFICATIONS OPERATING LEVEL Switch Setting: INPUT Connector: Type: Balanced: Unbalanced: Nominal Level: Maximum Level: CMRR: OUTPUT Connector: Type: Balanced: Unbalanced: Nominal Level Maximum Level: AUDIO Frequency Response: Dynamic Range: Hum and Noise: Crosstalk: THD: IMD: SYSTEM FUNCTIONS +4dBu -10dBV XLR-3F and TRS 1/4” phone jacks Transformerless, active balanced 40KΩ 20KΩ +4dBu +27dBu >40dB Same Same 40KΩ 20KΩ -10dBV (-7.8dBu) +12.
Aural Exciter and OPTICAL Big Bottom 204 Specifications 8.2 ARCHITECTURAL SPECIFICATIONS Basic Description A dual channel electronic device comprising an Aural Exciter® process to enhance and improve the intelligibility and clarity of an audio system and a Big Bottom® process to separately enhance and improve the bass response of an audio system.
204 instruction Manual Patent Notice This product is protected under one or more of the following Aphex patents. 4,578,648 4,633,501 4,843,626 4,939,471 5,115,471 5,155,769 5,334,947 5,359,665 5,422,602 5,424,488 5,450,034 5,463,695 5,483,600 5,485,077 5,612,612 5,737,432 5,848,167 5,896,458 5,898,395 5,930,374 Page 36 Aphex Systems Ltd.
