Bbe 482I Sonic Maximizer Review Plus Years And
Provides processing for stereo or 2 separate mono channels brightening, clarifying, and adding fullness to the sound.Does it simply "colorize". The BBE 482i Sonic Maximizer is perfect for home studios DJ systems PA systems nightclub sound and guitar, bass, or keyboard racks any application not requiring balanced jacks. Given this black box cost a wopping 200.00, which wouldn't even cover the tax on a couple of my interconnection cables, makes it one of the best pieces of audio equipment ever, PERIODWhat are some opinions here upon the usefullness of the BBE?882i Sonic Maximizer The all-analog 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.Overview. Hearing is believing I've been in the hobby for 20 plus years and have been using a BBE sonic maximizer for the entire time. Greetings Klama2006, good for you.
The BBE 482i Sonic Maximizer is a dual-mono sonic maximizer, featuring independent lo contour and process controls, with a transparent volume/boost, and hard-wire bypass. This unit is great when used on a guitar/bass. Long time ago, cannot remember the exact price.around 200.00.
Maybe inline with the mic pre DI. I was using the 882 on the whole mix of programme material and was going to use the 482i for inserts or in the git/bass rack gear. Its probably not as tough.I have the BBE882 for balanced and the 482i for unbalanced connections.I figured they would be useful in an arsenal of gear. Seems to be very sturdy and also manages to look very cool.
Does the BBE simply make things go "bump bump and swish swish" with more fervant colorization giving the impression of "clarity". Or sounding more "brittle".So. Does anyone have any strong opinions with regard to their usefullness or experiences?I have noticed that placing the RNC in "Real Nice Mode" in the main inserts kind of seemed to make the transients "pop out" more almost making the BBE "useless".
And if a loudspeaker's phase response curve were linear, then the low and high frequencies would reach the listener's ears in their correct time order. The ability to accurately represent a sound's phase and amplitude define the quality of a loudspeaker's transient and steady - state, or sustained, response.If a loudspeaker's amplitude response curve were linear, then the relationship between the high and low frequencies would be correct. The bass emphasis thing you can simulate with an eq, but the actual BBE process itself is something different.Here's a selection of info from the BBE web site, you can read the whole thing at: A loudspeaker's transient response is typically expressed in terms of amplitude response (how quickly it reacts to an incoming signal), with little or no regard to phase response (whether high and low frequencies are reproduced at the proper time).
The inductance of the speaker's voice coil creates a stronger impedance as the signal's frequency increases, resulting in a time delay. If this same live music were to be recorded and played back through a loudspeaker system, the loudspeaker would introduce frequency-dependent phase shifting. However, this isn't normally the case.When we listen to live music, all of the highs and lows reach our ears in the same relationship to each other as when they were created by the instruments.
This creates a kind of "mirror" curve to the time delay curve created by the speaker, neutralizing its phase distortion.The second major element in the BBE system is the augmentation of the higher and lower frequencies. Since a loudspeaker's natural tendency is to add progressively longer delay times to higher frequencies, the BBE sound processing system adds progressively longer delay times to lower frequencies. The first adjusts the phase relationships of the low, mid and high frequencies. Has developed a circuit that has two primary functions. Audio material containing sharp transients (e.g., percussive and plucked sounds such as drums, guitar, piano and harpsichord, etc.) suffers the most from this phenomenon, making it seem unfocused, or mushy.In order to address these problems inherent in basic loudspeaker design, BBE Sound, Inc. The resultant signal is distorted in the time domain to the listener's ear.
While there are differences amoung various speaker designs in the magnitude of their correction, the overall pattern of correction needed is remarkedly consisient."I think so far we all agree that it "affects" the signal with some interest. If you made it clear, you have taken the process too far without realizing it.The concept is great, but there is no way to compensate for something that you have no control over.The listeners sound system.According to their manual, " conducted extensive studies of numerous speaker systems over a 10 year period. Once I take it out to the car, it's a whole different ballgame there as well.So how, as a mix engineer, can you possibly use this at the mix stage to make up for the random difficiencies of any listeners speakers?And another thing, how do you know when the phase relationships have been properly compensated for? What sort of test equipment do you need to test for the time shift of the high frequencies? You can't use your ears because you wouldn't know if something on a recording wasn't very 'clear' sounding to begin with. So, if I am flipping back and forth between the 2 sets of monitors, wouldn't I need a different amount of BBE processing to make everything 'right'.
With the RNC affecting the whole mix. With the differing amounts of transients and timbre associated with each session I would assume that some will benefit from its use. Some may tell when there is a "pleasant effect" to the specific project.
Become less of an ingredient to the final sound. I guess as you close the tolerances in your rack with better gear these products. However, when I was using the 3630's.
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