EXPRESSOR MODEL 9651
OPERATING GUIDE
1.0 INTRODUCTION
The Aphex EXPRESSOR 1s the "sound" you've been looking for but, until now, could not find in any
other compressor/limiter devices. Now you can get it fast and get it clean with fully adjustable controls
and unparalleled audio performance.
In addition to the standard controls (i.e., INPUT, THRESHOLD, RATIO, ATTACK, RELEASE,
and OUTPUT) you'd expect to find on a professional device like this, we've included several unique
features that give you more value for your money.
With our exclusive High Frequency Expander (patent pending), you can use higher compression
ratios, even up to 50 to 1, without worrying about "dullness" artifacts, typically found in other
wide-band devices. Sidechain Controls let you choose whether you want to cut low frequencies,
employ a soft-knee threshold, or link two EXPRESSORs for stereo or master/slave operation.
TABLE OF CONTENTS
LOINTRODUCTION . ......... eee ee ee ee eee
2.0 PRINCIPLES OF GAIN REDUCTION ..............
3.0 EXPRESSOR INSTALLATION . 1212201100 0 4 4 0 0 4 4 4 0
4.0 FRONT PANEL 2244004 4 444 4 4 0 0 4 4 ieee.
5.0 SETTING THE EXPRESSOR CONTROLS ...........
6.0 SPECIFICATIONS 22224440 4 4 4 4 4 0 4 4 0 0 4 0 4 a 00 6
7.0 BLOCK DIAGRAM.....2 242404440000 0 6 00e... 10
8.0 SCHEMATICS ............. 11
Your EXPRESSOR was carefully packed at the factory, and the container was designed to protect the unit from rough handling.
Nevertheless, we recommend careful examination of the shipping carton and its contents for any sign of physical damage which could have
occurred in transit. If damage is evident, do not destroy the container or packing material. Immediately notify the carrier of a possible claim
for damage. Shipping claims must be made by the consignee.
1.1 Limited Warranty
Aphex Systems, Lid. warrants to the original owner that the EXPRESSOR will be free from defects in parts and labor for a period of one (1)
year from the date of purchase.
THE ABOVE WARRANTY IS IN LIEU OF ANY OTHER WARRANTY, WHETHER EXPRESSED, IMPLIED OR STATUTORY,
INCLUDING, BUT NOT LIMITED TO, ANY WARRANTY OF MERCHANTABILITY, FITNESS FOR ANY PARTICULAR PURPOSE,
OR ANY WARRANTY ARISING OUT OF ANY PROPOSAL, SPECIFICATION, OR SAMPLE. APHEX SYSTEMS SHALL NOT BE
LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES. APHEX SYSTEMS NEITHER ASSUMES NOR AUTHORIZES ANY
PERSON TO ASSUME FOR IT ANY OTHER LIABILITY
1.2 Service Information
If it becomes necessary to return a unit for repair, contact Aphex for a return authorization number, repack it in the original carton and
packing material, and insure the shipment. If a warranty repair, enclose a copy of proof of purchase and send package to:
APHEX SYSTEMS, LTD.
11068 Randall Street
Sun Valley, CA 91352
PH: (818) 767-2929 FAX: (818) 767-2641
WARNING: TO REDUCE THE RISKS OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.
Copyright© 1991 by Aphex Systems, LTD. All rights reserved. All Aphex product names are trademarks or registered 1 NN R
Aphex Sytems, LTD. Other brar” “id product names are trademarks or registered trademarks of their respective ho > <
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dbx® is a registered trademark 0 ‘arillon Electronics Corp. N
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{ SYSTEMS Expressor Model 9651 - Page 1
2.0 PRINCIPLES OF GAIN REDUCTION
In order to fully understand the features found in your EXPRESSOR, we need to first explain several
Gain Reduction principles that are basic to the design of the Aphex family of Gain Reduction devices.
Gain Reduction is the process of proportionally reducing the dynamic range of audio signal into a
smaller, more compact range so it "fits" the recording or transmission medium at hand. Ideally, the
output signal should be a scaled replica of the original signal, without any undesired artifacts created
by the Gain Reduction system.
How well this procedure is executed 1s subject to a number of factors including: audio path,
understanding Gain Reduction applications, and correctly setting the controls.
2.1 Audio Path
All our Gain Reduction devices (EXPRESSOR, COMPELLOR, and DOMINATOR) use the latest
circuit techniques, incorporating our own Aphex VCA 1001, to produce the industry’s HIGHEST
performance.
We include transformerless servo-balanced instrumentation input stages on all these products to
provide high headroom, superb common-mode rejection, transparent audio interface, and high input
impedance.
The output stages also use a transformerless scrvo-balanced design to drive balanced or unbalanced
lines without loss of level or increase in distortion. The outputs can actually sense short circuits to
ground on either leg . When this occurs, they immediately throw full audio to the other (ungrounded)
pin, while turning off the grounded amplifier.
2.2 Gain Reduction Parameters
The level at which Gain Reduction starts is the Threshold sctting. Above Threshold, Gain Reduction
takes place as the audio level rises above the setting. When the audio level falls below the Threshold
setting, Gain Reduction ceases. Knowing this, we may choose to gain-reduce all or only the highest
peaks of the audio signal.
Ratio is the mathematical relationship that provides a convenient measurement of how much an
increase in Input signal level will be reduced. For example, a Ratio of 5:1 means an increase of 5dB in
input level would result in only a 1dB increase in output signal.
Attack Time is defined as the time it takes the Gain Reduction circuit, set at its highest Ratio, to
attenuate by 10dB an increase in the Input signal above Threshold. With a fast Attack Time (e.g.,
SOmicroseconds), the Gain Reduction circuit would react almost immediately to any signal increase
above Threshold, whereas a slow Attack Time (e.g., 60 ms) would create a slower reaction time. A
lower Ratio setting also influences the Attack Time by proportionally slowing the reaction time.
Overshoot is defined as the signal above the Output signal eventually achieved through Gain
Reduction. The slower the Attack Time, the greater the Overshoot. This relationship may be used to
create greater "slap”,"punch”, or "bite", depending upon the particular Input signal.
Release Time is defined as the time it takes to "undo" or un- attenuate the Gain Reduction by 10dB
when the Input level drops (based on the highest Ratio setting). A very fast Release Time (c.g., 0.4
seconds) quickly "brings up” the Output level as the Input decreases. A slow Release Time (e.g., 2
seconds or longer) creates a gradual release of Gain Reduction.
A faster Release Time will generally keep the Ouput level more constant and make low level signals
louder. A slower Release Time will allow the Output dynamics to more closely resemble the Input
dynamics, resulting in a more natural sound. 25 -
Make-Up Gain is the amount of additional gain needed to bring the gain-red:==d signal up to a
Page 2 - Expressor Model 9651
desired Output level.
2.3 Types of Gain Reduction and Applications
There are five different types of Gain Reduction: Leveling, Compression, Program Limiting, Peak
Limiting, and Clipping. Depending on the application, you must choose which type or which
combination of types of Gain Reduction are appropriate to achieve a desired effect.
Leveling maintains a consistent output level over the long term, without affecting the short-term
dynamics. The Ratio 1s set for a high value, while Attack and Release Times are adjusted for slow
response.
Compression is a low Ratio setting, typically less than 8:1, with faster Attack and Release times. It 1s
used to "fit" a wide dynamic range signal into a smaller range. Compression is typically used to bring
low level signals "ор."
Program Limiting is a high Ratio setting with fast Attack and Release times. It is used to set a
maximum level for an"average” (i.c., VU) Output.
Peak Limiting is high Ratio setting with extremely fast Attack and Release times. It is used to set a
maximum level for peak Output. Most peak limiters will produce Overshoot even though the Attack
Time 1s very fast.
Clipping is an infinite Ratio setting with nearly instantaneous Attack and Release times. It provides an
absolute, zero overshoot, "brick wall" at which peak levels will be capped. The EXPRESSOR is not
capable of this type of gain reduction.
Typically, higher Ratio settings and faster Attack/Release times produce greater Gain Reduction
effects. The EXPRESSOR allows you to use these effects for creative purposes, If these effects are
not desired, then use more sophisticated gain control devices like the COMPELLOR on average
levels and the DOMINATOR on peak levels.
3.0 EXPRESSOR INSTALLATION
3.1. Physical Considerations
The 9651 Expressor is designed to fit into one slot of an Aphex 9000 frame and dbx® 900 series
frames. The thumbscrews (46-32) secure the module to the frame.
3.2 Electrical Considerations
3.2.1 Power
The 9651 is powered by +/-15V. The power is bussed to the unit on the backplane of both the Aphex
and the dbx® racks. The +/-24V which appears on the dbx® rack will not affect the 9651 in any way.
NOTE: The 9651 consumes 171mA worst case. Compute the total power consumption of all modules
in the rack to determine if sufficient power is available from the power supply.
On the Aphex rack model 9000R the audio ground and chassis ground come out the the power screw
terminal connector seperately (sce figure 1). The terminal <7 marked may be jumpered to the
terminal ~~ marked to electrically connect the audio and chassis grounds together.
Expressor Model 9651 - Page 3
3.2.2 Edge Connector Pin-out (see schematics)
Pin #
Description
1 No connection
2 No connection
3 Ground (Chassis)
4 Ground (Audio)
5 +15V
6 -15V
7 Sidechain in
8 Sidechain out
9 no connection
10 Link
11 Ground
12 Input +
13 Input -
14 Output +
15 Output -
3.2.3 Rear Panel Connections (screw terminals on rear of racks)
-24 »+ Input high
+24 A- Input low
GND + Ground
HS 8+ Output high
8- Output low
Sidechain out
IOOOOOO
¢c- Sidechain in
7. Ground
0+ Link
o- No connection
МНН
OOOOOOOOOO
Fig: 1 Rear Panel Connections
3.2.4 Audio Input and Output Connections
The 9651 may be driven balanced or unbalanced. If balanced, "high" should be connected to A+, "low"
connected to A- and shield connected to Ground. If unbalanced, connect "high" to A+, "low" to A-
and connect a jumper from A- to Ground.
The output can drive either balanced or unbalanced loads. Connect B+ for output "high" and B- for
output "low". Do not connect shield. If driving a known unbalanced load, connect a jumper between B-
and Ground.
The reference level of the meter of the EXPRESSOR may be set for -10dBV or +4dBu via a shunt
(Jumper) JP2 located in the upper middle area of the main PCB. -10dBV isawith the shunt in, +4dBu
is with the shunt removed. 3
=
Page 4 - Expressor Model 9651
3.2.5 Impedances
The EXPRESSOR features a high input impedance (22kQ2 balanced), allowing it to be easily driven by
any other piece of audio equipment, including consumer gear. However, a piece of equipment
designed to work into a 6009 load may show unusually low output meter readings, even though the
unit is driving the EXPRESSOR properly. Or the unit may considerably overdrive the EXPRESSOR's
input, while still indicating OVU.
In either case, you will observe a large disparity between indicated drive levels, with the
EXPRESSOR's meter reading a much higher level than the output meter of the driving unit. If this
occurs, install a 600Q resistor across each EXPRESSOR input to lower the input impedance to 6000.
3.2.6 Sidechain Access Wiring Considerations
Sidechain Access is provided via unbalanced connections at the rear panel. Sidechain "out" (the audio
input) appears at C+. Sidechain "in" connects to C-. Connect the "high" to the respective terminals
and the "low" to Ground. IN ORDER TO USE SIDECHAIN ACCESS YOU MUST REMOVE
THE SHUNT (JUMPER) JP1 AT REAR OF THE MAIN PCB. IF YOU DO NOT USE
SIDECHAIN ACCESS, REPLACE THE SHUNT OR CONNECT A JUMPER BETWEEN C+
AND C-.
Use the Sidechain to send the EXPRESSOR's audio signal to an outside device for modification and
return it or a completely different signal to achieve creative processing.
NOTE: The Low Cut Filter is inserted after the sidechain access point.
You can use the LINK terminal D+ to either link two EXPRESSORSs for Stereo operation (SLAVE
OFF/ON Switch is OFF) or Master/Slave operation (SLAVE OFF/ON Switch is ON on the “slave”
unit and OFF on the “master” unit).
Expressor Model 9651 - Page 5
4.0 FRONT PANEL
4.1 "IN" Switch
When the "IN" Switch is IN, the LED lights and the audio is routed through the
EXPRESSOR. In the OUT position, this switch provides a hardwire audio
bypass.
4.2 INPUT Control
The INPUT Control provides a variable audio input gain control that drives the
EXPRESSOR circuits. You can adjust this control from -20 to +17dB with 0dB
representing unity gain, at your system’s nominal operating level (e.g.;-
+4dBu,-10dBV). The servo balanced input stage uses a transformerless circuit
that accepts balanced or unbalanced audio signals (sec Installation). This design
also provides a high degree of common-mode signal rejection, to get rid of
unwanted signals generated in long cable runs.
4.3 THRESHOLD Control
The THRESHOLD Control allows you to set the threshold level where gain
reduction begins, regardless of INPUT Control position. This control is
adjustable from -20 to +20dBu.
If the SOFT KNEE Switch is ON, the threshold level is automatically lowered
by 10dB to accommodate the lower "soft" compression ratio and keep the same
Ouput level.
4.4 RATIO Control
The RATIO Control allows you to compress the incoming audio signal
according to the ratio of input versus output signal. The control can be varied
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{rom a ratio of 1.1 (to 1) to 50 (to 1). For example, a Ratio of 5:1 means an
increase of 5dB in input level would result in only a 1dB increase in output signal.
4.5 ATTACK Control
The ATTACK Control allows you to control how fast an audio signal is going to be compressed. The
control can be varied from .05 to 100 ms, with attack time being defined as the time it takes to fully
attenuate a signal by 10dB with the highest Ratio setting.
4.6 RELEASE Control
The RELEASE Control allows you to control how long an audio signal is going to be compressed. The
control can be varied from .04 to 4s, with releasc time being defined as the time it takes to "undo" or
un-attenuate a signal by 10dB with the highest Ratio setting.
4.7 HFX RATIO Control
Fixed cqualization is the traditional method of retrieving brightness lost due to high Ratio
compression/limiting. The problem with this technique occurs when equalization is no longer needed
because the signal is out of limiting and creates an undesirable audible increase in background noise.
The EXPRESSOR provides a unique feature that automatically adds equalization only when
necessary. The HFX Control allows you to set the amount of equalization (6dB per octave shelving)
for the amount of Gain Reduction. At a minimum ratio of 0:1, there is no HFX effect. At 1.0:1, there
is 1dB of High Frequency Expansion (or boost) for every 1dB of Gain Reduction. The maximum
amount of High Frequency Expansion is 6dB, regardless of the amount of Gain Reduction. With this
unique High Frequency Expander, you can add "life" or "air" to a compressed signal, without fear of
hcaring ‘background noise pumping" that usually results from standard attempts at post-equalization
Page 6 - Expressor Model 9651
of a compressed signal.
4.8 FREQUENCY Control
The FREQUENCY Control lets you set the high pass corner frequency of the HFX expander. The
control can be varied from 2kHz to 20kHz.
4.9 OUTPUT Control
The OUTPUT Control provides a variable audio "make-up" gain control that feeds the EXPRESSOR
servo balanced output circuits. You can adjust this control from -9 to +17dB, with 0dB representing
unity gain at your system's nominal operating level. The servo balanced output stage uses a
transformerless circuit that 1s virtually short-circuit proof and can drive either balanced or unbalanced
audio systems. The EXPRESSOR 1s designed to output a maximum audio signal of +27dBu.
4.10 SIDECHAIN Control
The EXPRESSOR has three SIDECHAIN CONTROLS to provide you with several unique
functions to enhance the overall signal. The controls are: LOW CUT OFF/ON Switch, SOFT KNEE
OFF/ON Switch, and SLAVE OFF/ON Switch.
4.11 LOW CUT Switch
When the LOW CUT OFF/ON Switch is ON, a low cut filter (6dB per octave) is inserted into the
sidechain signal to attenuate all frequencies below 80 Hz. With this feature, you can remove unwanted
low frequencies (e.g., proximity effect) that can produce unnatural Gain Reduction.
4.12 SOFT KNEE Switch
When the SOFT KNEE OFF/ON Switch is ON, the THRESHOLD setting is lowered 10dB, and Gain
Reduction becomes more gradual, to produce a less perceived sound change at Threshold. When the
RATIO Control is sct for a high value, the EXPRESSOR becomes a compressor/limiter.
When SOFT KNEE is OFF, Gain Reduction begins at the RATIO setting. This may produce a
noticeable change in signal quality at the Threshold level.
4.13 SLV (SLAVE) Switch
When the SLAVE OFF/ON Switch is ON, a control signal from another EXPRESSOR is used to
control your EXPRESSOR through respective LINK connections. There are two modes of
operation: Stereo Link and Slave Link.
4.13.1 Stereo Link
Normally, two EXPRESSORSs can be linked for stereo operation by connecting the two Link
terminals leaving the SLAVE OFF/ON Switch in the OFF position. The EXPRESSOR exhibiting the
greatest GAIN REDUCTION will control the pair.
Set all other controls on both EXPRESSOR units to the same respective positions.
4.13.2 Slave Link
When you set SLAVE OFF/ON to ON on one EXPRESSOR, then it will be controlled by the other
(master) EXPRESSORs setting, regardless of the GAIN REDUCTION setting.
Up to three EXPRESSORSs (onc master/two slaves) can be linked for master/slave operation. To
achieve the same Output from the Slave Units, make sure the INPUT, OUTPUT, and HFX Controls
match the Master's settings.
4.14 MTR SEL (METER SELECT) Switch
With the MTR SEL switch IN, the LED meter will display gain reduction. When the MTR SEL
Expressor Model 9651 - Page 7
switch is OUT, the LED meter displays output level.
4.14.1 OUTPUT LEVEL (VU) Meter
This VU meter lets you monitor the output level of the EXPRESSOR over a range from -20 to +3dB
VU (referenced to either -10dBV or +4dBu as set on the main PCB). The meter shows Output level,
regardless of whether the "IN" Switch is IN or OUT.
4.14.2 GAIN REDUCTION (dB) Meter
The GAIN REDUCTION meter shows you how much the audio signal is being compressed at any
moment for a given THRESHOLD setting. The meter is calibrated in 2dB steps over a 20dB range.
The meter shows the amount of Gain Reduction generated as if the "IN" Switch is IN, whether the
"IN" Switch is IN or OUT.
5.0 Setting the EXPRESSOR Controls
When using any Gain Reduction device, you need to know your system's nominal operating level.
Even if your console operates at +4dBu, the patch insert points may be 0dBu or -10dBv. The next step
Is to use a consistent set-up method like the one discussed below.
A suggested Set-up Method for the EXPRESSOR:
On the EXPRESSOR, initially set the RATIO Control to its minimum setting (i.e., 1.1:1) and adjust
THRESHOLD for a maximum value (e.g., +20dBu). These scttings effectively make the
EXPRESSOR inactive on most audio programs.
Next, adjust the INPUT and OUTPUT Controls for unity gain, so that average levels at the Input
match the Output. Use the OUTPUT VU Meter to set the Output Level at your system's reference
level (also refer to section 4 - Front Panel Controls).
Make sure PROCESS is ON and the LOW CUT, SOFT KNEE, and SLAVE are all OFF. Also adjust
the HFX RATIO to 0 and (HFX) FREQUENCY to 20 kHz.
Adjust the ATTACK and RELEASE Controls for average values (approximately 12 o’clock position).
While listening to the audio program, increase the RATIO Control to an average value
(approximately 12 o’clock position) and then start lowering the THRESHOLD Control. Observe the
GAIN REDUCTION Meter to see how much Gain Reduction is taking place for the sound you're
hearing.
Once you've set an approximate THRESHOLD, adjust the RATIO, ATTACK and RELEASE
Controls and judge the effect of each adjustment.
After you've set the controls in step 5, adjust the OUTPUT Control to make up any desired gain.
At this point, you've correctly adjusted the EXPRESSOR for its basic Compression application. The
remaining controls add additional refinements to the sound you've created. Until you become more
proficient in the use, follow this set-up each time you use the EXPRESSOR on an audio date.
Page 8 - Expressor Model 9651
6.0 SPECIFICATIONS
INPUT
Type:
Impedance:
Maximum Input Level:
OUTPUT
Type:
Output Impedance:
Maximum Output Level (60092):
Dynamic Range:
Bandwidth:
Signal/Noise @ Unity Gain:
THD @ +4dBu
IMD (SMPTE) @ +10dBu:
CONTROLS
Input range:
Output range:
Threshold:
Attack Time:
Release:
Ratio:
HF EXPANDER
Ratio:
Frequency:
OTHER SPECIFICATIONS
Gain Reduction Element
Power Requirements:
Dimensions:
Transformerless, RF-filtered, true-instrumentation, differential
servo-balanced
22kQ
+27dBu
Transformerless, RF-filtered, true-instrumentation, differential
servo-balanced
6592
+27dBu
112dB
5 Hz to 100kHz; +0, -0.2dB
-85dBu
0.006%
0.006%
-20 to +17dB
- 9to +17dB
-20 to +20dB
0.5 to 100ms
0.4 to 4s
1.1:1 to 50:1
0:1 to 1:1
2kHz to 20kHz
VCA1001
+/-15 Volts DC, 171mA
Board: 4.5" H x 9.5" D; Front Panel: 5.25" H x 1.5" W
Expressor Model 9651 - Page 9
7.0 BLOCK DIAGRAM
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Page 10 - Expressor Model 9651
8.0 SCHEMATICS
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