The 362 Series delivers the sound-improving benefits of a Sonic Maximizer signal processor with the convenience of ganged-stereo operation. Have you ever wondered why music sounds better live? The wizards at the BBE company have pondered over that and have sunk gazillions into research to get an answer to that Zen-like question. Amazing as it is, they've unlocked the secret, and now we can all reap the benefits.
Features
Ganged-stereo process control
Ganged-stereo lo contour control
+16dBu headroom
Unbalanced 1/4 in. inputs and outputs
Bypass switch for comparison of processed to unprocessed signal
Applications
Pro and semi-pro sound reinforcement
Mobile DJ system
Cassette copies
Discos
The Color Codes of Sound
To understand how BBE(TM) sound processing works, consider the characteristics of a loudspeaker and what we expect from one. Among a loudspeaker's most important requirements is the ability to reproduce transients ? the brief high-energy bursts at the beginning of sounds. The transients then evolve into harmonics. It is the particular amplitudes and phase relationships of these transients and harmonics which add the unique color and character to each sound.
Varying either the amplitude or the phase of the transients and harmonics within signal causes distortion of the sound's characteristics. By drastically altering the transient response of a sound, it's possible to make a cymbal crash seem like a car crash. Similarly, altering amplitude or phase relationships of the harmonics in a clarinet's tone can make it sound more like a flute, or a French horn like an oboe.
Amplitude and Phase
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 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. 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. This would result in faithful reproduction of the sound. However, this isn't normally the case.
Why is Live Sound so Pleasing
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. If this same live music were to be recorded and played back through a loudspeaker system, the loudspeaker would introduce frequency-dependent phase shifting. The inductance of the speaker's voice coil creates a stronger impedance as the signal's frequency increases, resulting in a time delay. Consequently, frequency components with large negative phase shifts (high frequencies) arrive at the listener's ear later than signals undergoing small phase shifts (low frequencies). The resultant signal is distorted in the time domain to the listener's ear. 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. has developed a circuit that has 2 primary functions. The first adjusts the phase relationships of the low, mid, and high frequencies. Since a loudspeaker's natural tendency is to add progressively longer delay times to higher frequencies, the BBE(TM) circuit adds progressively longer delay times to lower frequencies. This creates a kind of "mirror" curve to the time delay curve created in the speaker and neutralizes its distorting effect.
The second major element in BBE(TM) sound processing is the augmentation of the higher and lower frequencies. Loudspeakers tend to be less efficient in their extreme treble and bass ranges. Most sound-reproducing systems include a circuit for boosting high and low frequencies, showing an accepted awareness of the loudspeaker's efficiency problem. BBE(TM) sound processing, however, provides a dynamic, program-driven augmentation which combines with the phase compensation feature to restore the brilliance and clarity of the original live sound. The result is, as one professional journalist phrased it, "The most hearable advance in audio technology since high fidelity itself!"
The Benefits of BBE(TM) Technology
With BBE(TM) sound processing technology, music has great "live presence."
Highs are clearer, naturally brilliant and more finely detailed. Lows are tight, well defined, and harmonically rich.
Electric and acoustic guitars have sparkle, clarity, and definition. BBE(TM) sound processing brings out the harmonic complexity and bite significantly increases cutting power. Each note of a chord becomes more distinct. Brings your guitar out of the "mud."
Keyboards and synthesizers take on new realism. Percussive and plucked sounds are clear and sharp, chords are rich and full-textured, each note in the chord retains its integrity.
Electric & acoustic basses take on that rich, earthy "CD" sound. Five string players love what it does to the "B" string. Extremely tight, punchy bottom end with all the presence, clarity and bite of the top end.
Vocals cut through the amplified instrument so you can be heard better. Lyrics of the sound are no longer "buried in the mix".
Recording studios, home and professional, on individual tracks, multi-track down to 2 track, cassette duplication and mastering, BBE(TM) sound processing brings out the full spectrum of sound. Mixes are fresh and sparkly. BBE(TM) sound processing expands the spatial dimension of stereo reverb and chorus.
BBE(TM) sound processing will give you enough sparkle to restore instrument clarity or increase vocal intelligibility without appreciably adding level.
Technical Info
Frequency Response
Process Mode: program controlled
Bypass Mode: 5Hz-30kHz
Signal to Noise Ratio: 108dB process in/120dB process out
Total Harmonic Distortion in Process Mode: less than 0.1% at 1KHz
Input Impedance: 47K Ohms
Nominal Input level: -10dBu
Minimum Load Impedance for Full Output Level: 1K Ohms
Nominal Output Level: -10dBu
Maximum Output Level: +16dBu
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