Download Aphex CX-1 CX-1 compressor expander pinouts Professional audio systems service manuals and repai information Schematics 4 Free Service manuals, schematics, documentation, programs, electronics, hobby. Aphex carved a niche in the signal processing market, first with the Aural Exciter, then with a series of superb levelling / compressor units including the Compellor. These are super-transparent units with no discernible 'sound' and they're built to the highest standards At the heart of the Compe.

• Aphex Cx 1 Compressor Expander Tool
• Aphex Cx-1 Compressor/expander
• Aphex Cx 1 Compressor Expander Valve
• Aphex Cx 1 Compressor Expander Kit

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

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

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 levelling / compressor units including the Compellor. These are super-transparent units with no discernible “sound” and they’re built to the highest standards

Aphex Cx-1 Compressor/expander

At the heart of the Compellor is a VCA controlled by a sophisticated sidechain. Proprietary Aphex algorithms control gain reduction to give simultaneous levelling & compression. Compression uses short time constants to work quickly & inaudibly and levelling operates over longer periods to maintain average levels. The two strategies keep peaks under control whilst maintaining a consistent output level

Aphex Cx 1 Compressor Expander Valve

Compellor controls are unlike ordinary compressors. The Drive and Output controls are detented and allow the amount of processing to be varied while keeping the output at the same level. Process Balance moves the system between Levelling and Compression and there’s a slow / fast rate switch to change time constants. The two processes can be stereo linked. There’s a stereo enhancer and predictably, from a broadcast-oriented company like Aphex, the Compellor has perfect mono compatibility with no odd phase changes

Aphex Cx 1 Compressor Expander Kit

In a studio setting the Compellor is confusing at first. It can be difficult to hear it working but a quick flick of the process in / out switches makes you realise what it’s doing. It’s not a “grabby” unit that imposes its own sound on the signal, it’s more of a “glue” compressor, better suited to buss compression than drum tracks. On a bluesy song with a very sparse intro, I found the Compellor would pull things together nicely without killing everything when the drums kicked in. It’s not an instant attitude box like a Valley People Dynamite, or punchy like an SSL buss compressor, but it’s a great tool to glue things together. I’d like to try it in series with an SSL compressor

Like all these Aphex units, the Compellor is beautifully-built and has a quality feel. The internal layout is well-organised and components are high quality. These are not built down to a price like 99% of outboard gear