APHEX COMPELLOR 320A PDF

Find great deals for Aphex USA Compellor A Compressor Leveler Limiter Rackmount. Shop with confidence on eBay!. The A delivers “intelligent” compressor action, leveling and peak limiting simultaneously. It can be used to solve audio level problems and improve audio. Great comressor/limiter unit, works well in the studio and live. APHEX COMPELLOR A RACK COMPRESSOR LIMITER LEVELER BROADCAST AUDIOFully.

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It doesn’t generate any noise of its own, although like all compressors it can amplify existing noise at higher settings. On the other hand if your technique and signal are already fairly even, and you just want to enhance the punch and harmonics, and set your place in the mix, this is a good tool for that purpose.

Not specified conpellor manufacturer. RJ connector on the rear panel facilitates remote relay bypass of the unit A Silence Gate feature detects significant gaps in the program material and freezes the processing, thus preventing noise “swell” or “build-up”, a condition commonly audible in other automatic gain control devices.

The front panel metering system displays input level, output level or gain reduction levels. Aphex builds products that last and last without need for compeplor or calibration. The A provides the option of Dual Mono or Stereo operation. When the digital input is used, the analog output contains the D’s processing, properly leveled. I used it with two basses: It combines compression, limiting, leveling, and gating, and those functions are all controlled in an interconnected way by an automatic “program adaptive” system.

With the active, the automatic levelling functions were 30a so hard to regulate the signal that the noise level would jump up and down, and playing that B string hard caused a lot of distortion. The D can act as two independent mono processors or one linked stereo processor, which is selectable on the aaphex panel. It can also take a sloppy instrumental or vocal track and regulate it all to the same level. I think the A version is discontinued, only available used.

Write a review fvzqbyxqudwyaxxu. Copying is prohibited, but please feel free to link to this page using the link text “compressor reviews”.

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Extremely easy to operate, the user commpellor needs to set the Drive level to generate the desired amount of processing, set the Process Balance control between Leveling and Compression and adjust the Output level for unity gain. With some careful experimentation I was eventually able to find a setting that worked a;hex for the hard-to-control bass with a minimum of artifacts, but it took some time. Its unique circuit design actually enhances transient qualities, thus making even heavy processing undetectable.

When the analog input is used, the digital output contains the D’s processing. There is no rolloff of the lows, and the highs only roll off a bit at the highest compression settings. So overall my impression is that this comp is a fantastic tool, which really does offer some valuable processing power and a super clean sound; but it is not well suited for use in any rig where the dynamics and signal peaks can vary wildly.

Patented control circuits include analog computers that continuously analyze the input signal, and vary the control characteristics to provide for virtually undetectable operation, regardless of the dynamics of the program. Playing irregularly–a few notes, then a rest, then a few more notes–also caused the automatic sensors to work overtime, which resulted in audible artifacts. Whereas with the more even-output bass, with steadier playing, it was fairly easy to find a clean, natural-sounding, noiseless setting.

So right at the outset, this unit is capable of far more advanced dynamics control than most other comps, but it can also be harder to use since the controls are unfamiliar and non-concrete. Some Compellors have literally been in hour use in the same rack for a decade or longer! Overview Tech Specs Gallery Downloads. This is a two-channel rackmount unit, and it’s quite different from the other comps I’ve reviewed.

By going beyond conventional design 320, the D provides audio processing with unprecedented sound transparency, yet is exceedingly effective at controlling levels. It works differently at different frequencies and stops processing when the sound stops, then resumes instantly when the sound reappears, so there’s no distracting increases in program background noise.

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The tone is completely transparent. You don’t hear pumping or other compsllor artifacts, just natural sound that is evenly consistent in loudness. The A delivers “intelligent” compressor action, leveling and peak limiting simultaneously. No Longer Available Update Location close.

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All potentiometers are detented for accurate resetting of controls. Extensive compressor reviews and FAQ. I also noted that 320aa limiter was not so useful, it only kicked in on the most extreme peaks. With the passive, this comp really brought out the sound in a punchy, articulate way, with nice clear harmonics, and no noticeable noise or artifacts. It will try very hard to normalize an unruly signal, resulting in the noise level raising and dropping constantly.

When you specify a Compellor, you know it will do its job flawlessly and give you peace of mind. The patented technologies within the D are totally com;ellor.

Enter new zip code to refresh estimated delivery time. It compellpr be used to solve audio level problems and improve audio signals in the broadcast or recording studio, tape duplication house, film-dubbing studio or in live sound applications.

In mono mode, unit compellkr two completely independent channels of processing. When you listen, you know the levels are made more even, but you don’t perceive the levels are shifting.

Extensive compressor reviews and FAQ

So it’s ideally suited to broadcast work. See any errors on this page? You might say a steady, level signal doesn’t need any compression, but the processed signal is much more “present” and “energetic” sounding than the dry signal. The Silence Gate immediately releases when the program material resumes. The D’s limiter acts on peaks that shoot beyond average program levels so they are easy to handle by any analog or digital recording system.

The D’s Frequency Discriminate Leveler section, with the Dynamic Verification Gate and the Silence Gate, slowly adjusts the volume level of an audio stream with very complex algorithms that hide its work.