Based keyboardist Ed Roth.The Sonic Maximizer is a dual channel enhancer designed to operate with -10dBu levels. It works by applying phase correction to the high frequencies which.Sonic Maximizer Applications.
What Is A Sonic Maximizer Code To Support
Click to expand.The newer versions kept improving over the years. Adding lowend punch to dance material.Ed's solo projects have enjoyed three Billboard charting singles on the Smooth Jazz Top 40 chart, but that's just the tip of the iceberg in Ed's busy musical schedule. A much sought-after session keyboardist, Ed's recent studio credits include the Avett Brothers' Grammy nominated album The Carpenter, Arun Shenoy's Grammmy nominated album Rhumbadoodle, as well as work for Needtobreathe and Sophie B. Live dates for Ed include his feature role with CTA, a killer new band that showcases former Chicago band members Danny Seraphine and Bill Champlin, as well as the Bombastic Meatbats which feature Rock and Roll Hall Of Fame inductee Chad Smith of the Red Hot Chili Peppers. Check out Ed Roth's website at The 882i is a dual-mono Sonic Maximizer that features our fourth generation processing engine and perfectly suited for any studio, PA system, guitar/bass rig or any application that requires balanced connectivity.The BBE D82 Sonic Maximizer Plug-In is a new software version of BBEs award-winning Sonic Maximizer that features revised code to support more platforms.
Sometimes I think corporation plants deliberately post negative things about the Maximizer as to sell their more expensive equipment.Let me begin with some back ground. If truth be known, it can make a good system with high quality interconnects and speakers cables sound like a very expensive system. As we see here, its probably one of the most contested audio pieces one can own. The most recent version (which I have) is the VG360.
Found that out about tubes from audio engineer Jack Dodgson who I worked with at BSR corporation. I got mocked for it by those with a vested interest. For example, when everyone was buying their solid state amps and receivers, I was looking for used tube equipment to refurbish. I gained a tremendous amount of insight from people in the industry.
The better the quality equipment, the better the results. The BBE VG360 is designed to be played with high quality gear, thought it can cost less than a pair of interconnects. But, with the BBE my amplification does not have to be top of the line.
It sounded like crap that way. Some folks had no idea what it should do and just cranked it up. The bass is only boosted in the very low register as to counter a woofer's natural roll off, not to make it into a booming juke box.The high end effect is for adding clarity as its needed, not to screech your ears. It does not sound like any tone control I have heard which normally muddies up the sound. Its also correcting phase shift to an extent as well.
I was told early next year a new version will be released.I am listening to an audiophile system. The VG360 can still be found for sale online. I'm a musician.Just recently the VG360 was just discontinued. It can transform a live recording into something much closer to actually hearing the live performance.
I want my near field listening to videos to have the sound of the music presented to scale with what I am viewing. With the BBE low end boost used my little Audioengine P4's book shelf speakers have no need for a sub woofer.I do not want to shake the walls. Tube equipment with excellent DAC. Again, only high end cables and interconnects.
To augment the high frequency enhancement of the BBE process, the new Model 462 features a Lo Contour control which adds power to the bass end of the spectrum. The patented Aphex process works by synthesizing additional high frequency harmonics related to the original signal, but BBE chose to travel a different route, basing their process on a combination of dynamic equalisation and phase manipulation. PAUL WHITE studio tests the latest incarnation, the 462, which benefits from extensively redesigned circuitry.When Aphex first invented the Aural Exciter, they can have had little idea that their work would inspire a whole genre of sonic enhancers, based on a wide range of operating principles. High quality interconnects and wires, equals having a generically pleasing norm be transformed into a surprise in finding out what can be achieved.BBE's Sonic Maximizer has been with us for several years now, earning itself a reputation as one of the sweeter sounding enhancers on the market. Junk wires and interconnects equals - garbage in - garbage out. It works to the point of improving any good playback system as long as quality wires and interconnects are used.
Here is some more:I have tried BBE (and Aphex, Q-Sound, SRS and quite a few other boxes), and the problem I have with them is that there's no one-size-fits-all-setting that will work with all music.In other words, the effects are highly dependent on phase, level, and EQ, both song-to-song and even within the same song. This is intended to prevent the high frequency detail from being smeared by the low frequency components of the sound and increases definition without boosting level.As far as it being an equalizer? Not quite. Such an approach has many advantages it can help emphasise transient sounds without adding any noise when the input signal is low, as would be the case with a conventional boost equaliser.The phase manipulation side of the process is described as a linear phase shift across the whole audio spectrum corresponding to a delay of under 2ms. When there's no signal present, there's no boost, and when the signal level is high, maximum boost is applied.
It had noise, THD and phase anomolies. I did tests on the Audio Precision on the orginal version 20 odd years ago. Here's a discussion by pro audio engineers analyzing the BBE process:It's a dirt box.
I am not new to the audio world. I think the reasons why the BBE processors eventually faded from the marketplace is because everybody pretty much came to the same conclusion.Folks. No question, it changed the sound, but I think too many people wind up convincing themselves that "the change will do them good," as the Sheryl Crow song goes. The plots showed a bump at 2.5k hz, a weird looking "half dome" looking sawed off bell curve, very phasey and ugly sounding to my ears.That's basically what I heard as well.
Its the same kind of argument that I used to get from the solid state advocates back in the day solid state sounded horrible when compared to excellent tube equipment. Its also being presumptuous.I can see their point when they start bringing out old tests and technical data. Notice how they always approach those liking the BBE as if that person is first learning about audio? Notice that? Its called being condescending. The ones who do not like the BBE (for what ever reasons they may give).
And, the 275 fetches top dollar amongst audiophiles today. My first system consisted on a refurbished and modified McIntosh MC 275, and a modified refurbish MC C20. Lol!They begin by presuming that you must not know what you are doing. The tubes did not measure as well as the horrible sounding solid state equipment.
You tend to learn what to expect and grow from there. I have had been friends with audio technicians who had inside information on how audio can be benefited. I have spoken with the president of KEF about speakers. I first learned about tubes from Jack Dodgson who used to be a head engineer back in the days of Fisher audio. I have had conversations with Dick Sequerra about audio.
People change power cords and interconnects for the same reason. If it were not so? All expensive equipment would sound the same. By default of how they were designed they act like tone controls and effects in their own right. Trouble I found is that the BBE causes a transparency that reveals deficiencies in components that were designed by ear.
It does not give you worse anything. It does not give you better anything. I use litz interconnects and speaker cables because its as close to getting out of the way of the signal as can be had today.
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