In this issue: Winter 2001 VOLUME 3, NUMBER 1 Sir Elton John Chooses the 1788 A message from Marvin Caesar Aural On Tour with Aural Exciter Proven to Excitement Pearl Jam for the Enhance Speech Intelligibility Many Uses Seussical: The For years we’ve been extolling the benefits of the of the Aural Musical and tried and true Aural Exciter, and now the proof is Exciter in the pudding. Or, in a technical paper presented Aphex at the AES show in Los In the beginning there was the Angeles this past word- Aphex. That word was the September. Josef acronym for Aural Perception 1100 Wins SSAIR Chalupper, a leading Heterodyne Exciter. That name Award German audiologist, has became the product known as the spent years studying the Aphex Aural Exciter. It was so rev- effect of words when olutionary that it was not even Message from processed through the sold, but rather rented for $30 per Aural Exciter, and has recorded minute. It has been twen- the President come away with some amazing conclusions. ty five years since its introduction Chalupper reports the following: and during that time it has been used professionally to enhance the Wayne’s World • An increase in intelligibility of 11% for single words in noise audio for millions of recordings; • An increase in intelligibility of 18% for radio, Internet and TV broadcasts; and live performances. It has also Aural Exciter in sentences in noise • An increase in intelligibility of 12% in been licensed by other manufactur- ers for use in applications as the Spotlight reverberant fields diverse as musical instruments, Chalupper concluded that increases in intelligi- telephone message-on-hold sys- bility were the result of both the linear and the tems, audio mixers and , Aphex on the nonlinear introduced by the Aural and assistive listening systems. All Exciter. Road these users and uses have generat- “These percentages were absolute on a scale of ed a mountain of anecdotal evi- 100%,” says Marvin Caesar, President of Aphex. dence on its effectiveness, but the "Measured as a percentage increase above the 'non- Aural Exciter had never been mea- excited’ audio the numbers would be as high as sured by independent experts–until 40%. There has always been a certain amount of now. controversy surrounding the Aural Exciter. This paper should quell the doubts of those who still The accompanying article is just the have trouble believing their own ears, or the ears of first of studies that prove that the their customers. Our licensees, including Yamaha, Aural Exciter increases intelligibili- Gentner Engineering, Bogen, Mackenzie Labs and ty of voice in a noisy environment. Emu, have recognized the benefits of the Aural Exciter; this paper will further help their efforts." continued on page 3 1788’s1788’s andand SirSir EltonElton JohnJohn aa HitHit atat MadisonMadison SquareSquare GardenGarden When it came down to Elton John’s to several types of recording medi- Instead, we sent one line level analog much anticipated “One Night Only: um,” he said. “Inside the TNN truck output to the TNT truck and hence to The Greatest Hits Live” at we rolled Sony PCM-3348 DASH for- the onboard Neve Capricorn console Madison Square Garden, Effanel mat recorders, plus Otari’s RADAR II manned by session engineer Frank Music, the concert sound recording and Tascam DA-88 machines in time- Filipetti, and the other analog output company hired to make sure the code sync. Multiple machines were to the R-1 recording suite. sound quality was per- needed to provide suffi- The Model 1788’s were used for on- fect, took no chances and cient track capacity, as stage plus audience insisted on Aphex 1788 well as a close to three mics; a total of 80 separate line-level remote controlled mic hour record capacity, In outputs were routed to the recording preamps for maximum addition, backstage at The areas. “Effanel has been using the control. Garden we had organized 1788’s on a number of critical events,” Connected directly to a a separate recording suite Randy states, “and we love them. We high precision 24/96 kHz that held a number of experienced zero overload on the hard disk recording sys- Euphonix R-1 24/96 hard Elton John recordings during both tem without disk recorders.” nights–and we had very limited or compression, and a Close to the stage rehearsal and set-up time for the con- digital mixer online to area, an array of 1788’s certs. The units behaved flawlessly! provide off-disk monitor- provided duplicate, isolat- The 1788 is extremely versatile, and ing, the 1788’s were an integral part of ed outputs to the TNN truck and the meets our stringent requirements for the sound requirements set by project recording suite. “The model 1788 was audio quality, ease of set-up, and supervisor and Grammy winning perfect for this application,” Randy problem free performance.” Phil Ramone. continues. “With the cable runs of The live CD recorded at Madison Randy Ezratty, Effanel Music close to 800 feet from the stage to Square Garden was released in the US President was up to the task. “Phil truck and R-1 room, we didn’t want to in November, with US and UK televi- Ramone asked us to record the concert compromise the audio quality. sion to follow. Oh, the Places You’ll Go with the 1788 and Seussical: The Musical Seussical: The Musical, a current Broadway hit based on hookup to the remote controlled unit locat- the works of Dr. Seuss, is using nine model 1788 remote ed next to the mixer.” Line level signals controlled preamplifiers. The systems, com- connect the 1788’s to the theater’s mixing prising eight online units plus a backup, will be used to console. connect on stage and orchestral microphones to an all digi- “The ability to control all eight preamp tal . units from a single remote control makes life Leading sound designer Jonathan Deans specified the a lot less crowded at the mix location,” states units. “We have used the Aphex Model 107 two-channel Jonathan. “The remote controller unit is easy preamplifier on previous to use–I like its clear display and intelligent productions,” Jonathan interface. You can set it and forget it. In addi- explains, “but needed a tion, the 1788’s MicLim circuits, basically a fast more compact solution for limiter ahead of the mic preamp, means that we run sig- Seussical: The Musical. nals hotter at the mixer without having to worry about Also, we have a long cable sudden transients and system overload.” run from the stage and “Several theater operators and producers, as well as orchestra pit to the mixing location–it’s approximately 300 creative staff, have commented that they can hear feet– and were looking for something more elegant. We enhanced clarity and definition,” Jonathan continues. positioned the 1788 rack under the stage, close to the pit “One producer even went as far as saying he had never and wireless receivers, and then used a simple serial cable heard anything like it in a theater!” On Tour With Pearl Jam continued from page 1 Other studies have been conduct- and the 1788 ed to show that the Aural Exciter increases intelligibility in noise for The North American leg of the Pearl Jam World Tour began August 3 hearing impaired people. We are with a major change to the band's recording and PA rig. An array of Aphex now working on technology that Model 1788 remote-controllable pre-amps replaced the traditional technique will bring the Aural Exciter to of connecting on-stage microphones into a transformer-isolated splitter, and hearing aids. routing the low-level signals down long cable runs to pre-amps contained within front-of-house and monitor consoles. "The 1788s are installed up on the A company that records and stage," says Aphex president Marvin Caesar, "thereby eliminating the splitter stores voice messages on comput- and long mic-level cable runs. And, because the microphones are now driving ers for telephone playback experi- a short cable and only one mented with the Aural Exciter pre-amp, all the sonic Model 250. I called the system on degradations caused by my own Nokia cell phone and the traditional mic split- was amazed at how much the ters and cable snakes are audio literally jumped when the eliminated." chief engineer switched the Aural "Pearl Jam as a band Exciter into the circuit. and as an organization are fanatical about audio qual- The Aural Exciter is still the world ity," comments Brett standard for professional sound Eliason, the band's front- enhancement. Bringing this mar- of-house . velous, evolving technology to "For example, they do not other audio applications is an use any wireless micro- important challenge for this com- phones - the band is equally Pearl Jam front-of-house Mix Engineer Brett Eliason and pany. We look forward to meeting fanatical about capturing Monitor Mix Engineer Karrie Keyes, pose with 1788’s this challenge. the energy of live perfor- mances. When the opportunity arose to experiment with a method that ful- filled both goals, they jumped on it." "Brett already had some experience with the Model 1788," Caesar recalls, "and so he specified them with confidence. But after using them for several 1100 WINS concerts, he is thrilled with the quality increase of both the recording and PA RESTIGIOUS systems." P "Compared to recordings made in Europe using our traditional [mic-split- SSAIR AWARD ter] system," Eliason says, "the tracks are fuller, punchier and warmer. The differences are not subtle; everyone who has listened to the new tracks has The Aphex Model 1100 Precision Microphone Pre- was hon- been very impressed." Eliason also reports dramatic differences in the band's ored with a prestigious Studio Sound live sound following the use of the 1788. "There is more real low-end [energy] Audio Industry Recognition Award and smoother high-end,” he continues. "It has tightened up the overall sound, in the category of Outboard Pre- eliminating the mid-range 'honk' associated with the long mic-level cable runs Amps. Studio Sound is a leading to the house PA system." international trade magazine for the Another Model 1788 feature that has proven useful is MicLim: a limiter professional audio industry. located on the output of the microphone before the pre-amplifier. "One of the "We are highly honored that the band's guitarists plays a [Fender] Stratocaster fitted with a Fishman acoustic readers of Studio Sound have pickup," Eliason explains. "He usually plays the instrument very softly and bestowed this Audio Industry Recognition Award on the Model the pre-amp is set up with lots of gain. Occasionally he will decide to strum 1100,” said Aphex President Marvin much harder - if it were not for the MicLim, the guitar [sound] would be total- Caesar. ly distorted." In their third year, the Awards are Once the Model 1788 microphone pre-amps were set up, "they worked selected from votes cast by Studio flawlessly," Eliason continues. "They 'wake up' exactly how they were left at Sound readers via fax or through the the last concert, and I can easily load a preset if needed. There are no clocking Studio Sound website. The objective problems on the digital outputs. The analog outputs to the house and monitor was to "identify equipment that gen- positions are much cleaner than what we had before. We are very happy with uinely warrants recognition for being the change.” special in some way,” said a Studio Sound spokesperson. The Reviews Are In... And the Winner is the 1100 Mic Pre The Aphex Model 1100 Precision Microphone Pre- Amplifier has been one of the most critically acclaimed products in the history of Aphex. All over the world reviews have been pouring in, each one bet- ter than the last. We were so impressed we found our- Wayne’s World selves compelled to put the best of the best in a new brochure. For copies of the brochure call Aphex. In the Dear Wayne, meantime, here’s a sampling: My mixer is a DAW, my mics are “The 1100 is the sweetest, cleanest, warmest, most flat- some of the finest. I record to a digital tering preamp I have ever used.” Jon Barry - Radio World 8 track 20 bit 48kHz system and plan to move up to a 96/24 system. A pro- “Sounds awesome...open and airy...killer combination fessional engineer friend said “the of Class A cleanliness and tube punch.” Rich Tozzoli - EQ 1100 would have my vocals jump out in the mix and have far greater detail.” Awesome sound that was natural, dynamic and absolutely free of First, where do I put the 1100, into my noise...”George Petersen - Mix console or my recorder? Should I use “...tasteful...COOL” - Hiroki Mijahara - Sound and Recording (Japan) the converters in the 1100 or in my console or recorder? On an upcoming “The absolute weapon...highly musical with a very good price point.” live show I would like to use my 1100 Phillippe David - Keyboards (France) analog outputs for my sound system and the digital outputs simultaneously “The limiter was put through an unusual test in dynamics. This limiter worked to my 8-track. I read about Pearl Jam like a charm and Aphex should be commended on this feature in particular.” doing that on tour recently with a Mark Cross - AudioMedia (U.K.) bunch of your 1788 remote mic-pres for their live CD. I would like to do that same sort of thing, is it possible? Aphex on the Road Mike P. Walla Walla, Wa. Upcoming Show Dates NAMM Anaheim January 18 - 21 Hello Mike, NSCA Orlando March 8 - 10 You are always best served by record- NAB Las Vegas April 23 - 26 ing directly with minimal equipment in between. Use your mixer and effects AES New York September 21 - 24 afterward. Except if you feel like you need compression to keep your dynamics under control. Of course, the PBS Using Aphex 2020 Series Processors Mic Lim™ circuit in the 1100 extends your headroom 16 dB. I doubt you PBS, Public Broadcasting Service, a private, non-profit media enterprise will need much more help in dynamic owned and operated by 348 public television stations, recently ordered an array control. With Mic Lim engaged you of Model 2020 processors for use on four satellite uplinks. The eight 2020s are are also fully optimizing your signal being used by PBS to condition TV broadcast audio signals for national satellite- for the converters in the 1100 without delivery distribution uplinks that offer 24-hour/7-day service to member sta- worrying about digital overshoots. tions, plus cable-based outlets such as DirecTV and Prime Star, PBS National The converters in the 1100 are among Satellite Service, PBS Kids Channel, PBS-You and PBS National Satellite Service, some of the best, with special things time-delayed for West Coast stations. like drift stabilized conversion to keep According to PBS technical staff, the Model 2020s were selected because of your signal rock solid. You can run their versatility and ability to provide just the appropriate amount of signal pro- both the digital and analog outputs cessing. Competitive units, they report, only offer a limited number of control simultaneously. I’ll be looking for you options. Since PBS’ philosophy – unlike major commercial TV networks – is to to be on the charts soon. utilize a very light amount of overall gain leveling, plus limiting. Prior to uplinking its high-caliber television programming via satellite, the engineering Cheers, department prefers to customize the amount of dynamics control according to Wayne La Farr nature of the signals being broadcast.