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Author Topic: BBE 482i Sonic Maximizer...oh yeah!  (Read 11124 times)
elwoodblues1969
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« on: May 01, 2009, 04:46:38 AM »

In a valiant attempt to capture & replicate the sonic supremacy of the Reason 4 software into my hardware recordings,I frantically scrambled around to seek out some hardware signal processors,without breaking the bank-or robbing one. Evil Grin
Trying to find gear that will emulate the mastering devices in my software at a reasonable price is nearly an impossible task,but with the performance & price of the BBE 482i,I am off to a rather great start,as I am halfway there. Cheesy
Choosing between an aural exciter,& a sonic maximizer is quite a daunting endevour,as it becomes frustrating to iron out the pro's & con's of each.More specifically,the problem therein lies with both signal processors that accomplish nearly identical results,but in fundamentally different ways.
As it was explained to me by someone who has experience with such devices,is that the Aphex 204(exciter/enhancer) relies on adding harmonic information(a.k.a. distortion) to the signal.
The idea is to restore lost higher frequencies by sort of synthesizing new ones.
This gives brilliance without adding a lot of amplitude information.

The BBE relies a lot on expanding(opposite of compression) the higher frequencies.The idea is to restore lost dynamics in the high frequency range.This adds a clarity & crispness to things without the potentially grating effects of increased distortion.
It does add amplitude information to the signal though,which clearly explains why the BBE has lighted clip level meters,while the Aphex has no indicators.
Neither method is consider "right",as they are just different & bring different thing to the table.
In fact,many pros & audiophiles will argue that both of these boxes are nothing more than band-aids for correcting problems,that should be sorted out in other ways(such as re-recording & mixing),in order to fix the problem-instead of just the symptoms.
In order to confirm or dis-confirm these said theories,I conducted a test that not only incorporated the Sonic Maximizer,but also included me going back & re-mixing an old song that I had done on my Korg Triton.
I lowered the volume of my bass tracks,while also changing the onboard compression effect to an exciter effect & I adjusted the trim control in my resonator effect patch.This of course,improved my mix rather well,but the finishing touches were to still be made with myBBE sonic maximizer.
With cautious & gradual adjustments with my BBE processor,I brought more punch & articulate clarity to my mix & the end results were staggeringly good!
Bass lines were fuller,drum tracks were tighter & the reverb trails were pristine & dazzling-WOW!

While this experiment provided exceptional results,I'm not going to profess to anyone that it's a miracle cure for every recording scenario,but this device does serve as a very useful tool in a number of situations,if properly used.
Word of caution; the brightening & low end effects are capable of burying the needle quite easily...which could result in a blown monitor.[color]...that being said,always have your knobs in the dry position & gradually increase the gain to achieve the desired effect.

This signal processor is a very effective & low cost device in cleaning up & articulating a recording,without adding any of the colorization or unwanted noise that a graphic or parametric equalizer will add.
Joe Meek is a company that provides some very interesting gear at very reasonable prices & their Mc2 model compressor has a very nifty stereo width processor built in....of which is next on my hardware list! Cheesy

-Thom



* Ice Planet(remaster).mp3 (2160.11 KB - downloaded 447 times.)
* Ice Planet(dB edit).mp3 (2160.1 KB - downloaded 429 times.)

* BBE 482i 003.JPG (1621.83 KB, 2304x1728 - viewed 950 times.)
« Last Edit: May 01, 2009, 04:55:07 AM by elwoodblues1969 » Logged

kara
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« Reply #1 on: May 01, 2009, 08:34:17 AM »

Again a very interesting post from you, Thom
You see a lot of those Sonic Maximizers in live setups .

Thanks for posting this

k
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Oren
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« Reply #2 on: May 01, 2009, 05:07:21 PM »

Thom,

B.B.E. purchased the G&L guitar company (who built my guitars) from Leo Fender's wife in the early '90s, so I've been interested in their products. Although a phenomenal tool, it tends to be used to excess, or in situations where the effects really don't apply. It helps if the underlying principles are examined.
           ________________________________________________________________________________________________

First, a bit about harmonic distortion...
Adding harmonics to the sound is what vacuum tubes do so very well - hence the popularity of tube guitar amps and tube hi-fi equipment. A vacuum tube (valve, to our British friends) generates mostly even-order harmonics which, although technically a form of distortion, are very pleasing to the ear. A moderate amount of even-order harmonic distortion will enhance the listening experience, adding that high frequency "sparkle", even if it was not present in the original recording. Even-order harmonics can be generated digitally, as in the Aphex 204.

(Odd-order harmonic distortion is to be avoided, because it is perceived by the listener as audio interference, and clashes with the frequencies in the music. Typically, solid-state transistor amplifiers will generate mostly odd-order harmonic distortion.)
       _____________________________________________________________________________________________

Now, back to the Sonic Maximizer...

It can effect audio in two ways:
1. The high frequency portion of the audio spectrum can be dynamically expanded to provide somewhat the same effect as adding even-order harmonic distortion.

2. Single enclosure loudspeakers, by the nature of their design, deliver the low frequency sound to the listener sooner than the higher frequencies. (this is because low frequency sound travels to the listener more quickly) So the listener experiences the music in an "out of phase" condition, and it sounds muffled and indistinct.
The Sonic Maximizer can delay the delivery of the low-frequency component of the music with respect to the delivery of the higher frequencies, so the listener then experiences the complete audio spectrum in its proper phase relationship - clear and distinct.

Speaker systems that deliver the bass spectrum of the music from a separate speaker (woofer or subwoofer) do not have this out-of-phase problem because, normally, the subwoofer is placed farther from the listener than the upper/mid frequency speakers, so the music is delivered in its proper phase relationship. Crisp, punchy, and tonally accurate.

___________________________________________________________________________________________________________________________

Care must be taken to use the B.B.E. "bass frequency delay" portion as a play-back only effect so it can be adjusted individually to the room and the speakers. Some folks record with the sonic maximizer in the audio chain (or as a digital VST effect plug-in), and if the bass frequency timing is altered at this point, the effect will almost certainly confuse the phase relationship during playback, and produce the very opposite effect the Sonic Maximizer is designed for.

As long as loudspeaker design continues to incorporate the single-enclosure (all drivers in the same box) model, your B.B.E. Sonic Maximizer is going to come in very handy... Grin

Oren.
« Last Edit: May 01, 2009, 11:06:01 PM by Oren » Logged

elwoodblues1969
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« Reply #3 on: May 04, 2009, 04:01:30 AM »

Oren,

I use my BBE as an insert effect with my mixer,when I am running my recorded material from my workstation,which is then recorded to my multi-tracker.
If I understand your article correctly,I've just pissed away $179,by diluting myself into thinking I was improving my recordings. Huh Undecided
I also found out two days after I placed an order for a stereo width processor,that I already have this algorithm built into my Zoom recorder....I think I'm going to be sick. Tongue

I guess sometimes it's necessary to waste money,in order to learn more about the art of recording & it seems I am miles behind in knowledge.
A few weeks ago,I came damn close to pissing away money on an audio interface I utterly did not need,+ the cost of the installation.
I've wasted money on a few bad monitor purchases as well over the years,but I'd have to chalk it all up to a learning experience,I guess.
Maybe someday I'll get my recording knowledge sorted out......hopefully.

Thanks for doing the research that you did,as it was a real eye opener! Shocked Smiley

-Thom
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Oren
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« Reply #4 on: May 04, 2009, 04:33:19 AM »

I use my BBE as an insert effect with my mixer,when I am running my recorded material from my workstation,which is then recorded to my multi-tracker. If I understand your article correctly,I've just pissed away $179,by diluting myself into thinking I was improving my recordings.

All is not lost, mi amigo... Smiley
The Sonic Maximizer is best used for live performances to give that high-end "shimmer" to the sound, and to correct the phase inaccuracies between high and low frequencies inherent in the speaker system.
However, you can use it to expand the dynamic range of the high frequencies in your recordings to give them more "sparkle", either for individual tracks, or the stereo mix. The resulting track will, in fact, be enhanced. It does a nice job on cymbals...
(just be sure to have the low-frequency delay turned off, to avoid any phase issues in the recording)
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elwoodblues1969
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« Reply #5 on: May 04, 2009, 11:52:39 AM »

Oren,

I have noticed that it does brighten things,but I had read somewhere,that if I increase the process control & not the lo contour control,then I will reduce the level of bass/mid range & that it will make the recording sound tinny. Sad
If I use this BBE box at all,then I suppose it can only be used for single tracks-period.

As for the Joe Meek Mc2 processor,I could actually have some use for it,in that I could utilize it to add stereo depth to individual tracks-particularly the tracks 1-6...being that these tracks don't have the channel seperation of the tracks labeled 7/8.
The one nice & very useful thing about this processor,is that unlike the stereo width algorithim in my Zoom recorder,I can control the amount of stereo width & implement it wherever I choose. Cool

Thanks again for your input Oren-much appreciated....you're the man! Afro

-Thom
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elwoodblues1969
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« Reply #6 on: May 04, 2009, 11:55:31 AM »

Oren,

I have noticed that it does brighten things,but I had read somewhere,that if I increase the process control & not the lo contour control,then I will reduce the level of bass/mid range & that it will make the recording sound tinny. Sad
If I use this BBE box at all,then I suppose it can only be used for single tracks-period.

As for the Joe Meek Mc2 processor,I could actually have some use for it,in that I could utilize it to add stereo depth to individual tracks-particularly the tracks 1-6...being that these tracks don't have the channel seperation of the tracks labeled 7/8.
The one nice & very useful thing about this processor,is that unlike the stereo width algorithim in my Zoom recorder,I can control the amount of stereo width & implement it wherever I choose. Cool

Thanks again for your input Oren-much appreciated....you're the man! Afro

-Thom
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Oren
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« Reply #7 on: May 04, 2009, 08:34:03 PM »

...Thanks again for your input Oren-much appreciated....you're the man...

(...just one of the men, man... Cheesy)
Besides, we have to pitch in and help out the K-M hardware review guy whenever possible. Thanks for your efforts and enthusiasm, Thom. wOO

Oren.

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