The quality of signal hitting your DAW makes a big difference to your final product.
Get some beef, grunt and sparkle into your front end by plugging in to an Aphex Channel.
You can sit back and watch the 8 min video tour on the tab below, but if you’re somewhat time-crunched, here are the vitals:
– Microphone input via rear panel (instrument jack on front panel gets priority)
– Analogue line output via XLR (+4db) or ¼” jack (-10dB) – switchable
– Digital output via XLR (AES/EBU), RCA (S/PDIF) and Toslink (OPTICAL)
– Word clock I/O via 75Ω BNC
The front panel is where all the real action is though. You get:
Input gain control knob, 48v phantom switch, -20dB pad, 75Hz High-pass switch, phase invert AND phase rotator, plus a no-fuss compression section.
When turned on, your input gain knob decides how hard you also hit the compressor, while you also get a release knob.
There’s a Logic Assisted Gat, De-esser, Parametric EQ, along with the famous APHEX Big Bottom and Aural Exciter circuits, as seen in their rackmount EXCITER.
There is a switch to globally turn on/off the ‘EQ’ section (including Big Bottom and Aural Exciter), plus an output level control knob.
Of course, CHANNEL is not limited to recording studio applications. These are an excellent choice for broadcast studios, to give maximum clarity to any on-air microphone.
For a live sound situation, get a smokingly good bass sound by using Channel in your signal chain – either as a front-of-house insert at the mix position, or as front end in a bass rig.