Studio Expander/Gate. Studio Expander/Gate. Aphex Project 500. $150 used (3 offers) Aphex CX 500. Studio compressor. Aphex D 500 DUO. Aphex carved a niche in the signal processing market, first with the Aural Exciter, then with a series of superb compressor / leveller units such as the Dominator. They are all super-transparent units with no discernible “sound”. They use proprietary Aphex algorithms to determine attack & release times and to hold gain reduction when required. Aphex CX-1 Comp/Expander 1 ADR Vocal Stressor EQ/Comp/Limiter 1 GML PEQ EQ 2 Stereo Sontec PEQ EQ 2 Stereo NTI EQ3 EQ 1 Stereo Gates Sta Level Compressor 1 Mono DBX 902 DeEsser 2 160x Compressor 2 160 Compressor 4 Empirical Labs Distressor EL8 Compressor 2 Mono Distressor Compressor 2 Mono EL8X Eventide Omnipressor Compressor 1. 1-1/2' x 5-1/4' x 6' (industry standard) 2 lbs. CX-1 The CX-1 is a very versatile module combining a 'soft knee' compressor/limiter with a switch-able expander/gate. The CX-1 uses the proprie-tary Aphex VCA chip to provide an extremely clean overall sound. The expander is adjustable from 0 to 100 dB of expansion (gating) and is. The Aphex 661 Expressor™ The Aphex 661 is a neat 1-rack-unit mono compressor with a couple of interesting wrinkles. I've had chance now to run it through its paces and use it on a variety of recordings. To cut to the chase, it works really well and merits your serious consideration.

Behringer COMPOSER PRO-XL MDX2600 Expander/Gate/Compressor/ Peak Limiter with Integrated De-Esser, Dynamic Enhancer, Tube Simulation and Low Contour Filter

Whether you're recording, mixing or mastering, the COMPOSER PRO-XL MDX2600 gives you total dynamic control. It includes all of the features you would expect from a reference class compressor-plus a voice-adaptive de-esser, a new dynamic enhancer, authentic tube emulation and much more. These are some of the indispensable tools for producing clean, consistent audio with virtually no loss in signal quality.

Highlights

the advantages of hard-knee and soft-knee characteristics
Integrated de-esser with switchable male/female voice recognition removes excessive sibilance from your vocal tracks
IGC (Interactive Gain Control) peak limiting circuitry combines clipper and program limiter for reliable and inaudible protection against signal peaks
Switchable dynamic enhancer for brilliant, lively audio even with heavy compression
IRC (Interactive Ratio Control) expander/gate circuitry for virtually inaudible noise suppression
Switchable tube simulation for the extra warmth and transparency of classic tube circuitry
Automatically or manually adjustable attack and release times
Switchable low contour filter prevents 'pumping' due to low-frequency dominated compression
Stereo couple function with independent output level settings
Switchable side chain input with side chain monitor function
Ultra low-noise 4580 operational amplifiers and state-of-the-art VCA's
Separate 12-segment LED meters for input/output levels and gain reduction
Dedicated 'traffic light' threshold and de-esser level displays
High-quality detented potentiometers and illuminated switches
Servo-balanced inputs and outputs with ¼' TRS and gold-plated XLR connectors
Relay-controlled hard bypass switch with auto bypass function in case of power failure
Conceived and designed by BEHRINGER Germany

Aphex Cx 1 Compressor Expander Tool

Description

Aphex carved a niche in the signal processing market, first with the Aural Exciter, then with a series of superb compressor / leveller units such as the Dominator. They are all super-transparent units with no discernible “sound”. They use proprietary Aphex algorithms to determine attack & release times and to hold gain reduction when required. Aphex units were popular in American broadcast setups and many sat in racks for a decade or more controlling levels to the transmitter. They are beautifully-made with substantial front panels & steel cases, balanced XLR inputs & outputs and very high quality circuitry

The Studio Dominator 700 is a multiband unit with adjustable high and low frequency bands, each with switchable crossover frequencies. These bands control the contribution each makes to the gain reduction so the low end can be prevented from pumping the signal or excess high-frequencies can be pulled back without affecting the main signal adversely. These controls can, of course be misused creatively…

The equaliser affects the sidechain only, not the main signal, so the compressor can be made more (or less) sensitive in specific frequency bands. It can take a little time to get your head around multiband compression, and controls can be counter-intuitive, but the results are remarkable
The low and high bands can be used to drive compression as required. Used on a loop, pushing the higher frequencies makes the snare drum drive the compression and, by changing the release time and using TEC, this will make the snare snap more – or less, pushing it back in the mix. Release time is the key here. Setting release is confusing at first because the control operates in the opposite sense to most compressors with the fastest release time fully clockwise. The Dominator is definitely a tool to be setup using your ears, not by looking at the front panel
The Dominator has a peak limiter function with zero overshoot. This allows a maximum output level to be set. The output won’t go over that level, so it’s suitable for mastering, in-ear monitoring feeds & etc. Aphex achieves this without the gross clipping typical of low-end compressors that use diode clippers. It also has a switchable TEC “Transient Enhancer Control” which is an Aphex tweak designed to allow transients to be less affected by the limiting process
The front panel controls are

Drive
Process (off / on)
LF EQ (+/- 6)
LF crossover frequency (80 / 160 Hz)
HF EQ (+/- 6)
HF crossover frequency (1700 / 4500 Hz)
Release Time
Stereo tracking (off / on)
Output ceiling switch
Range (low / hi)
TEC (off / on)
Gain Reduction metering

I’ve used other Aphex models like the Dominator 720 & Compellor but this is the first model 700 I’ve come across. It has the typical Aphex ability to alter dynamics without changing the quality of the signal. It’s a remarkable trick – one that takes me by surprise every time. It reminds me of the SPL Transient Designer in its ability to suppress or accentuate dynamics but it’s capable of much more

I like compressors with an obvious “sound” that leave big footprints all over the signal. The Dominator leaves a footprint alright, but does it without mangling the original signal. For sitting a loop in a track, or making it poke out, this is a great tool. Because it’s a stereo unit it’s ideal for stems & stereo sources or as a stereo bus limiter

As a tool to control absolute peaks, the Studio Dominator is one of the best units around. It manages to sound clean & clear even when driven into heavy limiting or past the output ceiling level. This is what it was designed to do – limit cleanly with no overshoot. But the fact that it’s great at changing dynamics of a drum bus, loop or stem means it has far more uses than just peak limiting

Aphex Cx 1 Compressor Expander Cylinder

Photos are of a Dominator Model 720 and will be replaced by photos of the Model 700