Dynamic level control is easy to attain. Just sit in front of your mixer, with your fingers on all the faders for all of your tracks. Then, when the signal on each track gets louder, immediately pull down that fader. When the music gets softer, instantaneously turn it up. Like we said, easy! Especially if you only have a 24 or 32 channel mix going...
Okay, maybe NOT so easy - unless you own an Aphex Compellor! Not a compressor or limiter, the Compellor is a an incredibly intelligent leveler. It automatically gives you dynamic control over your mix, letting you maintain optimum average levels at all times. Your recordings will sound louder, fatter, fuller and punchier - without sounding squished, squashed, flat or lifeless (the usual compressor artifacts) because the transients still get through, and your mix still has room to breathe.
If you want a more polished, mastered, and overall louder "pro" sound for your recordings, the Aphex Compellor is the best answer!
Model 323A is a single channel version of the 320A, with an aural exciter added.
The Aphex Model 320A delivers intelligent compressor action, leveling and peak limiting simultaneously. This intelligent, versatile and highly affordable processor can be used to solve audio level problems and improve audio signals in the broadcast studio, recording studio, tape duplication house, film dubbing studio and in live sound applications. 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.
Extremely easy to use, you only need 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. The Model 320A is then ready to provide complete dynamic control - smooth, inaudible compression, increased system gain, desired program density and the freedom from constant "gain riding" - fully automatically! Its unique circuit design actually enhances transient qualities, thus making even heavy processing undetectable.
The Model 320A provides the option of Dual Mono or Stereo operation. In the mono mode, you have two completely independent channels of processing to accommodate independent monaural signal feeds. In the Stereo mode, you can choose between linking only the leveling control signals or you can link both the compression and leveling signals. An intuitive front panel metering system displays input level, output level or gain reduction levels. All potentiometers are detented for accurate resetting of controls. A Leveling Speed (fast/slow) switch is located on the front panel, as is the defeat switch for the peak limiter. Operating reference levels are selectable from -10dBV, +4dBu or +8dBu. An RJ-11 connector is located on the rear panel to facilitate remote relay bypass of the unit.
Intelligent Automated Gain Control (AGC) for consistent program levels
"Invisible" compression characteristics assure tighter dynamics and virtually transparent performance
Instantaneous peak limiting for effective system protection (user defeatable)
Adaptive control circuits make for fast, simple set-up and no readjustment for varying program dynamics
The Model 320A is almost identical to its predecessor, with the primary improvement being the addition of a newly developed (patents pending) Frequency Discriminate Leveler (FDL) circuit. Lab tests and exhaustive research led to the discovery that, under conditions of program leveling, the human ear perceives the onset of low frequency (bass & percussion) transients differently from transients at higher frequencies. This perception, as it turns out, is a direct function of the relative attack time of the leveler. Without FDL, there is a significantly greater chance that low frequency transients can create an audible "bass pull back" effect. In addition to a potential loss of bass and/or low end "punch", mid and high frequency processing can be negatively impacted. To the listener, the effect can be heard as a perceived loss of bass or even "pumping" at the mid and treble frequency ranges.
FDL eliminates this problem by allowing low frequency transients to trigger a slower attack time on the initial transient. High frequency leveling is still controlled within the attack time determined by the onboard computer. From the listener’s standpoint, the benefits are:
No more bass pullback effect
More bass punch for better music mixes
Fast leveling can be used in more applications
Reduced audio distortion in the leveling mode
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