Instruction manual

Aphex Systems Ltd. Model 204Page 20
204
instruction Manual
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 amplifica-
tion.
Note: The previous illustration depicts an in-line audio path. Most mixing consoles offer Master Bus
Inserts for processing.
5.8 STAGE MONITORS
Stage monitors are a necessity for performers but can be a source of problems for the sound engineer. For
instance, in rock concert settings the existing high levels on stage are fighting the effectiveness of the stage
monitors. The most common example is when the lead singer yells at you to give him more level in his monitors
because he can’t hear himself over the wall of guitar amplifiers. The volume that is required from the stage
monitors is high enough that you’re usually on the edge of feedback.
Another situation is acoustic music performances such as folk or bluegrass. In this instance there is no problem
with a high stage level. However, you have instruments that by nature have a low acoustical output that require
high amounts of gain to reproduce them through PA and stage monitor systems. In this situation, you’re typi-
cally on the edge of feedback especially as the number of mics increase.
In both of these examples your are trying to get more gain out of the stage monitors than the limiting factor of
feedback will allow. The Aural Exciter will give you a perceived increase in volume without putting your system
into feedback. Put an Aural Exciter in line when the system is stable yet close to the point of feedback. The Aural
Exciter may be the most viable option under these conditions.
There are two types of monitor systems in use. The simplest and least expensive method is a foldback monitor
system. Only one console is used for mixing both the “front of house” P.A. and the stage monitors. To use a
Model 204 in a foldback monitor system, patch directly into the 204 from the line level monitor output on the
console. The Model 204 should always come before equalization and then on to the amplifier and speakers.
The other method is known as on-stage monitor mixing. In this scenario, a separate mixing console is placed
on stage to mix the stage monitors. This is prevalent in larger, more sophisticated performance settings where
there is typically many monitor mixes. Since we are dealing with a separate console, in most cases you’ll have
a choice of using a buss insert or patching “in-line”.
Refer to section 5.1 and 5.2 for patching instructions.
5.9 GUITAR, BASS & KEYBOARD RIGS
The sampling rates of digital devices such as synthesizers, drum machines, samplers etc. limit the instruments
bandwidth and resolution. They have no high end beyond a fixed point and can sound lifeless. Use of the
Aural Exciter dramatically improves their overall sound by creating additional overtones, literally doubling the
bandwidth.
Any instrument, such as a guitar, processed through the Aural Exciter circuit gives the instrument its own sonic
identity without raising the volume of the instrument in the mix. Musicians can include the 204 into their
instrument rigs and process the sound they want before it reaches the sound mixer.
Operation & Applications