CONTENTS

MAXCOM SPECIFICATIONS iii AUDIO INPUT iii INTRODUCTION 1

FEATURE LIST 1

THE DESIGN CONCEPT 2

THE VCA 2 inputs 2

INSTALLATION 3
UNBALANCED/BALANCED OPERATION 4 MAINS CONNECTION 4

CONTROLS 5

FRONT PANEL LAYOUT OF THE MAXCOM 5

REAR PANEL 7

THE BACK PANEL LAYOUT OF THE MAXCOM 7

OPERATION 8

EXPANDER/GATE SECTION 8 COMPRESSOR SECTION 8 BBE SECTION 10 COMPRESSION EFFECT 10 THE LIMITING EFFECT 10

APPLICATIONS 11

MAIN APPLICATIONS AND INITIAL SETTINGS 11 EXPANDER/GATE SECTION 11 THE COMPRESSOR FUNCTION13 LIMITER FUNCTION 14

SPECIAL APPLICATIONS 15

THE MAXCOM AS A PROTECTIVE DEVICE15 EXTERNAL SIDECHAIN APPLICATIONS 16 Service 19 Warranty 19 Maintenance 19

SPECIFICATIONS

MAXCOM SPECIFICATIONS AUDIO INPUT Type Active balanced XLR and 1/4 jack Impedance 60k ohm balanced Maximum input level +21 dBu balanced and unbalanced AUDIO OUTPUT Type XLR and 1/4 jack Impedance 1K ohm unbalanced Maximum output level+21 dBu Frequency response 20Hz to 20KHz THD N% @ 1kHz, 4dBu0.05% IMD (SMPTE) @ 10dBu0.01% Noise & Hum unity gain 93dBu Noise & Hum, fully off 97dBu Crosstalk @ 20kHz 85dBu CMR @ 1kHz 60dB COMPRESSOR SECTION Type Interactive Compressor Threshold Variable from -40dB to 20dB Ratio Variable from 1:1 to LIM Attack Variable from 0.1ms to 200ms ReleaseVariable from 0.05s to 4s GATE SECTION Type Interactive Expander/Gate Threshold Variable from OFF to 15dB SONIC MAXIMIZER SECTION POWER SUPPLY AC 115V/230Vac 60/50Hz; DC 24V DIMENSIONS 483mm (W) x 217mm (D) x 44mm (H) 19.01 (W) x 8.54 (D) x 1.73 (H) WEIGHT 3kg (6.61lb)

INTRODUCTION

Congratulations and thank you for your purchase of the BBE MAXCOM. You have acquired an extremely efficient and universal dynamics processor. Its unique circuit design makes MAXCOM the ultimate dynamics processor: intelligent program recognition, interactive expander/gate and a fourth generation BBE Sonic Maximizer. FEATURE LIST SONIC MAXIMIZER Loudspeakers have difficulty working with the electronic signals supplied by an amplifier. These difficulties cause such major phase and amplitude distortion that the sound reproduced by speaker differs significantly from the sound produced by the original source. In the past, these problems proved unsolvable and were thus delegated to a position of secondary importance in audio system design. However, phase and amplitude integrity is essential to accurate sound reproduction. Research shows that the information which the listener translates into the recognizable characteristics of a live performance are intimately tied into complex time and amplitude relationships between the fundamental and harmonic components of a given musical note or sound. These relationships define a sounds sound. When these complex relationships pass through a speaker, the proper order is lost. The higher frequencies are delayed. A lower frequency may reach the listeners ear first or perhaps simultaneously with that of a higher frequency. In some cases, the fundamental components may be so time-shifted that they reach the listeners ear ahead of some or all of the harmonic components. This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is technically called envelope distortion. The listener perceives this loss of sound integrity in the reproduced sound as muddy and smeared. In the extreme, it can become difficult to tell the difference between musical instruments, for example, an oboe and a clarinet. BBE Sound, Inc. conducted extensive studies of numerous speaker systems over a ten year period. With this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the corrections necessary to return the fundamental and harmonic frequency structures to their correct order. While there are differences among various speaker designs in the magnitude of their correction, the overall pattern of correction needed is remarkably consistent. Interactive Compressor The Interactive Compressor successfully combines the concept of a Hard Knee compressor with the characteristics of a Soft Knee approach. The Soft Knee mode with its Soft control characteristics is the basis of the inaudible and musical compression of the program material, while the Hard Knee function is a prerequisite both for creative and efficient dynamics processing and for limiting signal peaks reliably and precisely. This function is required to protect subsequent equipment against distortion. The AUTO function The MAXCOM incorporates an AUTO function for intelligent program detection. With the help of the AUTO function, the attack and release times are derived automatically from the program material. Adjustment errors can therefore be effectively prevented. This feature lets you compress the signal heavily and musically in dynamic range without any audible pumping, breathing or other side effects, providing you with optimum results. Manually Adjustable ATTACK and RELEASE Controls The response of a compressor and the quality of the dynamics processing largely depend on the control times, i.e., the attack and release functions. When processing signals from individual instruments such as drum, guitar etc., and when using the compressor to protect the audio system against signal transients, it is imperative that the control times be user-adjustable. The MAXCOM offers this feature by providing both ATTACK and RELEASE controls. Adaptive EXPANDER/GATE A basic problem in the use of a compressor is the fact that the noise floor is highly amplified during quiet sections or when there are music pauses. This effect is exaggerated when the compression ratio is inappropriate. An adaptive Expander/Gate has been integrated into the MAXCOM. The gate is automatically adjusted dependent on the program material. The result is an expander which is less critical of adjustment and which is more tolerant in the presence of those signals which appear slightly above the noise floor.

DESIGN CONCEPT

THE DESIGN CONCEPT
THE VCA At the heart of the MAXCOM lies an industry standard state-of-the-art VCA (Voltage Controlled Amplifier). With its excellent specifications (noise, THD, control feedthrough, linearity, slew rate and temperature stability) the precision VCA used in the MAXCOM is considered one of the best in VCA technology. The control feedthrough used in VCA terminology is a very critical parameter for the crosstalk of the control voltage into the audio path. Slow changes of the control voltage lead to a slow DC offset at the audio output of the VCA and are mostly inaudible. Fast controls however, will result in awkward switching noise (clicks). inputs BALANCED INPUTS As standard, the MAXCOM comes with electronically servo-balanced inputs. This circuit design features automatic hum and noise reduction for balanced signals and thus allows for trouble-free operation even at high operating levels. Externally induced mains hum etc. will be effectively suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and adjusts the nominal level internally to avoid level differences between the input and output signals (correction 6 dB). SIDECHAIN INPUTS Each of the two channels of the MAXCOM incorporates a separate SIDECHAIN insert facility. Using an external equalizer, this additional feature allows for frequency selective operation. Therefore, the unit can be used as a de-esser or feedback suppressor. AUDIO PATH The audio signal passes first through an electronically balanced input stage and is then directed through the VCA which actually governs the dynamic process. The VCAs output feeds the resulting signal into the Sonic Maximizer. The subsequent potentiometers control the amount of Sonic Maximizer Process and Lo Contour control which will be used in the main path. The amplifier and output driver leads the signal via the Bypass switch to the output connector. SIDECHAIN PATH The audio signal is simultaneously directed to the SIDECHAIN. By further processing of this input signal, both Expander and Compressor Audio Detectors result in a conversion of the audio signal into rectified control voltages. The subsequent Auto Gate and Auto Compressor circuit govern the control characteristics of the gate and the compressor. They automatically derive the attack and release times from the input signal and therefore generate a musical and unobtrusive signal processing. The final control voltage is then routed to the VCA. SIDECHAIN INPUT An external signal can be fed into the SIDECHAIN connector which allows the unit to be controlled externally. By using the SIDECHAIN insert on the back panel the link to the audio signal will be automatically interrupted and the MAXCOM can now be used for example as a frequency selective compressor (de-esser etc.).

END UNIT

The correct wiring of the balance system

FRONT PANEL CONTROLS

CONTROLS
FRONT PANEL LAYOUT OF THE MAXCOM
-30 -50 -70 OFF 10 --20 -30 --1.lim 2.1 0.200 0.3 0.1.0.2 -6 -14 -14 -50 -70 OFF 10 -30 --20 -30 --1.lim 2.1 0.200 0.3 0.1.0.2 -6 -14 -14
1. GATE/THRESHOLD This control adjusts the threshold level for the expander/gate section in the range of off to 10dBu. Signals below the set level are attenuated. 2. CHAN. ON switch This switch activates the corresponding channel. The switch is used to make direct A/B comparisons between original material and processed signal. 3. THRESHOLD control This control sets the threshold point for the compressor section. It has a range of -40dBu to 20dBu. 4. RATIO control The RATIO control determines the ratio between the input and output level for all signals exceeding the threshold point. The ratio range can be adjusted from 1:1 to 11:1 (Limiter). 5. ATTACK Control The ATTACK control determines the rate by which the compressor responds to the signal which exceeds the threshold. This control can be adjusted from 0.1ms to 200ms 6. AUTO switch By activating the AUTO switch, the ATTACK and RELEASE controls are disabled and the attack and release rates are automatically derived from the program material. This function allows for unobtrusive musical compression of signals or mixes with widely varying dynamics. 7. RELEASE control The RELEASE control determines the rate that the compressor returns to unity gain after falling below the threshold level. This control can be adjusted from 0.05s to 4s. 8. OUTPUT control The OUTPUT control allows for the increase or decrease of the output signal by a maximum of 20 dB. Thus, a level loss due to the compression or limiting process can be compensated for. 9. BBE ON/OFF SWITCH This switch engages the BBE Process as indicated by the green LED. When in the OUT position the green LED will not illuminate indicating that the BBE Process has been disengaged. 10. BBE PROCESS CONTROL When the knob is in its minimum position, completely counterclockwise, no process is taking effect and the circuit is in its noise suppression mode. Turning the knob clockwise will introduce the BBE Process. Adjust the knob to mix the desired amount of process to suit your taste. Use the BBE as an extension of the tone controls. Generally a good place to start the BBE process is to set the knob to its 12 oclock position, then adjust accordingly. 11. BBE LO CONTOUR CONTROL This control is a low frequency adjustment for the BBE Process. It provides a boost of 10dBu when turned to its maximum position (clockwise) at 50Hz. When turned to its minimum position (counter-clockwise) no adjjustment is taking place. 12. INPUT LEVEL METER Shows level of incoming signal in a range from -20dB to +6dB.

Fig.11 The ratio of input to output level with reference to different ratio settings
There are two ways to utilize this level control: either the output level is limited in such a way that no signal can exceed a predefined maximum or the output level is reduced above the threshold, so that signal peaks may well exceed the threshold, but are reduced proportionally. The extent of this change in dynamics is determined by the RATIO control.

operation

A ratio of 1:1 indicates that the output signal will correspond to the input signal i.e., there is no level change. A ratio of 2:1 indicates that for every 2 dB increase in input level above the threshold there will be a corresponding increase in output level of 1dB. A ratio of 10:1 indicates that for every 10dB increase in input level above the threshold there will be a corresponding increase in output level of 1dB, etc. If the RATIO control is set fully clockwise, this corresponds to a ratio of infinity:1. This means that all input levels are reduced to the threshold point and are thus kept constant. It is worth observing that a hard or infinite-ratio limit has applications in certain specialized situations, but in general this setting is neither appropriate nor necessary as this would cause audible side effects. The effect of the RATIO control can be shown on a graph which plots input level versus output level. It clearly shows that below the threshold the compressor acts purely as a linear amplifier. ATTACK Control The characteristics of a compressor are determined to a great extent by the attack time. This is the amount of time that elapses before the compressor begins to attenuate the output level after the threshold point has been exceeded. A short attack time is required for transients such as handclaps and percussive instruments like snare drums so that the compressor is in a position to regulate these types of peaks. With other kinds of program material it can be advantageous to apply longer attack times. It is always recommended, however, to begin processing with longer attack times. Whenever it is required, the time should be reduced carefully as the danger of dynamics distortion usually increases with shorter attack times. The attack time of the MAXCOM can be set within a range of 0.1 to 200 milliseconds. RELEASE control Another feature of the MAXCOM is the release time. This determines the time that the compressor requires to return to its unity gain after the input signal has fallen below the threshold point. The release time is largely dependent on the program material. If the time is incorrectly set, this can lead to two fundamental problems: 1 - If the release time is too short, the overall volume may fluctuate when signals peak above the threshold level and give the sound an unpleasant pumping effect. 2 - If the release time is too long, pumping and breathing side effects may occur when a loud passage is abruptly followed by a quiet passage. The VCA increases the general volume of quiet passages which leads to a disadvantageous tonal effect. The release time can be set within a range of 0.05 to 4 seconds. AUTO SWITCH Attack and release times are important parameters which significantly influence the quality of the dynamic control process. When the AUTO switch is engaged, the manual ATTACK and RELEASE controls are put out of action. The attack and release times are automatically derived from the program material by means of intelligent program recognition so that setting errors can be effectively avoided. The AUTO function eliminates side effects such as pumping and modulation distortion. OUTPUT control Because compression and limiting are both gain reduction processes, the output of a compressor/limiter is often at a lower level than the normal operating level. This loss of level must be compensated for. A reduction in the output level is required if the operating level of subsequent equipment is lower (for instance, if the subsequent unity has a high sensitivity input). CH. ON switch The CH. ON switch activates the channel. The switch is mainly used for direct A/B comparisons, which allows a comparison between the unprocessed and processed signal. When in the OUT position, all processing functions on the MAXCOM are turned off. If the switch is in the ON position, the unit work as a Compressor or Limiter, depending on the setting of the controls. Please note that in the bypass mode, the input signal is still connected to all of the MAXCOM circuitry, so that all the required controls can be used Dry that is without affecting the original signal. This, in conjunction with the GAIN REDUCTION meter, provides a powerful tool for comparing processed and unprocessed signals prior to operating the bypass switch and going live. GAIN REDUCTION meter This meter provides a convenient visual indication of the amount of gain reduction that is taking place at any time. If a signal exceeds the input level of the threshold point this function of the Compressor comes into play and the GAIN REDUCTION meter shows the actual measurement of gain reduction.

BBE SECTION In order to address problems inherent in basic loudspeaker design, BBE Sound, Inc. has developed a circuit that has two primary functions. The first adjusts the phase relationship of the low, mid and high frequencies. Since a loudspeakers natural tendency is to add progressively longer delay times to higher frequencies, the BBE circuit adds progressively longer delay times to lower frequencies. This creates a kind of mirror curve to the time delay curve in the speaker and neutralizes its distorting effect. The second major element in the BBE system 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 loudspeakers efficiency problem. The BBE system, 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 journal phrased it, The most hearable advance in audio technology since high fidelity itself!. COMPRESSION EFFECT At the beginning of this chapter, we dealt briefly with the basic functions of a compressor/limiter. Now we will discuss this point in more detail, with reference to the threshold setting, input level and compression: consider an input signal which is applied to the inputs of two compressors. The threshold of the second compressor is set 10 dB higher than the threshold of the first compressor. Since a compressor only affects signals that exceed the threshold level, it is fairly obvious that the signal of the first unit, will be compressed more because as the threshold is lower, it is exceeded to a greater exceeded before. Furthermore, it is interesting to note that by comparing the input and output waveforms for the compressed mode, the quietest sections of the input signal have been effectively raised in level, whereas the loudest sections have been effectively decreased in level. The overall effect is that both ends of the dynamics range have been pushed towards the middle. The squashing effect of compression is important to remember and highlights the major difference between compressing and limiting. Compressing and limiting differ in one more aspect: the dynamic setting for attack and release times. For compression purposes, a preferably longer attack and release time is generally the best in order to keep the overall output signal within a specified dynamic range. For limiting applications, considerably shorter times are necessary to control transient signals or to increase headroom. To achieve inaudible compression, it is imperative to work with program dependent attack and release times and a Soft Knee response. The advantage of program dependent compression is most apparent when processing musical material that is varied. The MAXCOM is suitable for all applications because of its various time settings and the AUTO processor. With the AUTO switch engaged, the unit uses program dependent attack and release times. When not engaged, the control times can be set manually. Please note, while the AUTO switch is depressed the MAXCOM does not provide a limiter function even if the RATIO control is turned fully clockwise because signal peaks are NOT radically cut off above the threshold point. If you want to use the MAXCOM as an ultimate means of protection against overload, it is recommended to study the following chapter. THE LIMITING EFFECT The attack time is defined as the time taken for a compressor to respond to program levels which have exceed the threshold point. Because of the physical relationship between frequency and slew rate, the resulting factor is that for relatively low frequencies a longer attack time was required than for higher frequencies: any unpleasant dynamic distortion would be avoided. When compressing a program mix that includes a wide range of frequencies, a compromise must be made when setting the attack time. This setting would generally suit the lowest frequency components present. For general dynamic-range control using the compressor mode, this is of no serious consequence. However, in a limiting mode, we are restricting the peaks of our signals to a maximum operating level to avoid distortion in any subsequent devices. If we are using a conventional compressor in a limiter mode, the result will be in very fast high frequency signal transients passing through unaffected by gain reduction. It is therefore necessary to choose the limiter control times precisely in order to govern any kind of transients. In order to use the MAXCOM as a peak limiter, it is necessary to operate the unit in limiter mode (RATIO control turned fully clockwise) and to switch out the AUTO function. This enables the limiter function to exclusively and instantaneously respond to signals which exceed the threshold level. It is important that the AUTO switch is switched off and that the attack time is as short as possible to avoid any audible distortion. The RELEASE control should be set to a value whereby side effects such as flutter and pumping etc. do not occur. 10

APPLICATIONS

In this section several typical applications of the MAXCOM are discussed. The following basic settings can resolve most dynamic problems. They are the ideal starting point. Please take the time to study the application examples carefully to make full use of the MAXCOMs capabilities in the future. MAIN APPLICATIONS AND INITIAL SETTINGS The main applications of the MAXCOM can be divided into four categories: 1 - The Expander/Gate section is used to eliminate interference and to suppress background noise and leakage on individual tracks in multitrack recording. 2 - The Compressor section is used to compress the program material and to create special effects and unusual sounds, which are used for recording and musical performance. 3 - The Limiter function is designed to protect loudspeakers, recorders, transmitters etc. from signal peaks, short term over-loading and over modulation (transmitters etc.). 4 - The BBE SONIC MAXIMIZER function is designed to improve the clarity and openness of any sound source or sound system application. Now that the functions of the individual sections have been clearly explained, we would like to acquaint you with more terms and relationships of the dynamics process. Compression A compressor converts a large dynamic level into a restricted range. The extent of the resulting dynamic level is dependent on the threshold, attack, release and ratio settings. The faster the chosen control times and the higher the compression ratio, the greater the effect on the short term dynamics. This fact is often used to achieve audible and creative sound effects. Levelling The levelling mode is used to keep output level constant, i.e. to compensate for long term gain changes without affecting the short term dynamics. Normally, the threshold is set quite low in order to be able to increase low level signals. Levelling requires slow attack and release times combined with a high ratio. Because of the very slow response time, levelling has no effect on signal peaks or short term changes in average level. Limiting The limiting function requires a fast attack time and a high ratio and release time setting, which is dependent on the specific use. As it is usually the task of a limiter to limit only high signal peaks, the threshold is usually set at a high level. The dynamics are reduced dependent on the ratio setting and the degree by which the threshold point was exceeded. If the attack time is adjusted to control only the average level without affecting signal peaks above the threshold, then it is referred to as a Program Limiter. For this purpose the attack time will be set above 20 ms. If the attack time is further reduced in order to also control signal peaks, then it is defined as a Peak Limiter. Clipping In contrast to the two previously mentioned limiters, the clipping mode features infinitely fast control times, an infinite compression ratio and creates a brickwall for all signals above a certain level. To be able to control the signal peaks, the clipping function radically cuts signals above the threshold without affecting the amplitude of the original signal. If used in normal applications, this function remains inaudible and under certain circumstances it can even lead to an improved sound because cutting the transients creates artificial harmonics. If misused, clipping can cause very obvious and distasteful distortion, which in an extreme manner will convert the signals waveform into a square wave. EXPANDER/GATE SECTION The main task of the Expander/Gate is to inaudibly eliminate undesirable background noise from the usable signal. This assumes that there is a slight level difference between the usable signal and the noise floor, in order to be able to define the operating threshold of the Expander/Gate. At the same time, the Expander/Gate must respond very quickly (have a very fast attack time) so that the signals leading edge remains unaltered. When expansion occurs there are no common side effects due to the extremely smooth and unobtrusive action of the circuit. Controlling Leakage In The Studio Expander/gates are most commonly used to suppress undesirable leakage of sound from one track to another 11

during recording or playback. They are usually used when recording drum kits, where the mics are very close to each other. High volume levels of individual instruments often cause considerable leakage onto all the adjacent mics and results in conflicting frequency and phase coherence problems, as well as unspecified sounds (comb filter effects). It is vitally important that every instrument is recorded into a separate mic and that each mic is individually gated. Patch the MAXCOM into a snare drum channel for example and adjust it so that triggering only occurs on snare hits. Each mic should be set to its maximum operating level, monitored and the THRESHOLD level set so that each snare hit sounds acoustically clean and separate, as though it was played on its own. The optimum use of the Expander/Gate depends principally on microphone technique. Be particularly careful when high frequency instruments are located to the side or rear of a cardioid microphone.
Fig.9 Function of an expander

Function of an expander

Most cardioids exhibit a sharply rising off-axis response characteristic at higher frequencies. If there is only a 2 or 3 dB difference between the on-axis and off-axis response in the 5 to 10 kHz region, cymbals may leak excessively into the tom mics and you may have hi-hat spilling all over the snare mic. Please make full use of the directional characteristic of the mics to acoustically exclude all other instruments as much as possible. Make sure that you do everything possible to achieve source separation with good microphone technique. Otherwise the Expander/Gate is not able to undertake clear acoustic separation. Sometimes, it is necessary to prevent the Expander/Gate from responding to low frequencies (rumbles etc.), especially if a singer is moving the microphone around on a mic-stand. More information about this topic in section USING AN EQUALIZER IN THE SIDECHAIN PATH. Initial Settings For The Expander/Gate Section CONTROL SETTINGS
GATE THRESHOLD control -70 dB Begin with very low threshold levels so that the signal can pass through the unit unaffected. Now turn the control clockwise until all unwanted noise is removed and only the sound of the desired instrument can be heard. If the control is set correctly, the drum sounds will be dry, sharp and clearly defined. If you do not have enough mics (or MAXCOM channels!) to record each instrument separately, try to create subgroups: put the snare and mid-toms together, and group the side-toms, bass drum and cymbals together with the help of a mixing console. The aim is to set up the Expander/Gate and to position the group mics so that each strike on an instrument opens a specific mic and so only that instrument is recorded, whilst the other mics remain muted. Reducing Leakage In Stage Mics The MAXCOM has many uses in live work. On stage and in multi-miking situations, a well set up Expander/Gate can effectively suppress background noise, compressor type pumping noise and microphone leakage without producing any undesirable side effects. Expander/gates are commonly used for processing vocals. When specifically used with a compressor, the distance and position of the mic in relation to the singer is very critical: the further the distance, the more sensitive the mic is to background noise. When used in live situations, leakage of miked instrumentation is substantially reduced, as well as other acoustic contaminants in various recording situations. Reducing Feedback In Stage Mics When a singer is using a vocal mic, their voice effectively stops other sounds from entering the mic. But in pauses between the singing, the mic will pick up noise from the house PA and monitors which can lead to un12

pleasant feedback problems. If the MAXCOM is inserted into the mic channel, it will shut off the channel when it is not being used reducing the possibility of feedback. Noise Reduction On Effects Paths The effects rack is one of the most overlooked sources of noise in a PA system or recording facility. The price of reverb and delay units and harmonizers has fallen drastically over the last number of years, which have made these units a common feature in small studios and home recording installations. However, multiple effects units considerably increase the overall noise level, so that the pleasure in acquiring a new sound effect is short lived. It will prove useful to use the MAXCOM as the last component in the chain of effects units and use the noise reduction function of the Expander/Gate section. THE COMPRESSOR FUNCTION The task of a compressor is to reduce the dynamic range of program material and to control the overall level. The extensive controls of the Compressor section provide a great range of dynamic effects: from musical and soft compression to limiting signal peaks, right up to extreme and effective compression of the overall dynamics. For example, a low ratio and very low threshold setting can be used to achieve soft and musical processing of the general dynamics of the program material. Higher ratios, together with low threshold settings, create relatively constant volume (levelling) for instruments and vocals. High threshold levels generally limit the overall level of a program.
Fig.12 The effect of a compressor can be expressed as the amount of gain reduction that is taking place for any given input
Ratios greater than 6:1 effectively prevent the output level from signals significantly exceeding the threshold point (provided that the OUTPUT control is in the 0 dB position). The AUTO function prevents aggressive compression, created by high ratios, from sounding too unnatural. Initial Settings For The Compressor Section CONTROL SETTINGS
THRESHOLD control +20 dB RATIO control 2.5:1 AUTO switch IN OUTPUT CONTROL 0dB IN/OUT switch IN Rotate the THRESHOLD control counterclockwise until an appropriate amount of gain reduction is indicated on the GAIN REDUCTION meter. This operation will be accompanied by an audible drop in output level. The OUTPUT control should now be turned clockwise to reinstate the output level. The level of the unprocessed and the processed signal can be compared by pressing the IN/OUT switch. Final adjustments of the controls can then be made to suit your particular requirements, including the RATIO, ATTACK and RELEASE controls. The AUTO function provides program dependent dynamic processing which suits most standard uses. If a condensed or wider sound processing technique is required the attack and release times can also be manually adjusted. The experienced user will be in a position to specify parameters while in bypass mode and thus realize the effect before the unit is actually switched into operation. This is important in live situations, where a signal needs to be managed efficiently by the engineer without the convenience of continual A/B comparison. The maxcom As A Sound Effects Unit In the early 1960s musicians began looking at the recording process as a way to create new sounds. The pumping effect which had been avoided by earlier engineers suddenly became fashionable and was utilized 13

applications

as a creative tool, laying the groundwork for many of the sounds which are now considered indispensable in contemporary music. The compressor is used in this role because you can hear it working, and control of the dynamic range is of secondary importance. The MAXCOM, with its extensive range of functions, is well suited to this application. Sound effects of this kind can be achieved using extreme settings. To achieve this, set the THRESHOLD control to a fairly low level, the RATIO control to almost maximum and use the ATTACK and RELEASE controls to obtain the desired effect. LIMITER FUNCTION Besides the compressor function, the MAXCOM can be used to limit the overall output level and to protect subsequent units from signal peaks, short term overloading and over modulation (transmitters etc.). Initial Settings For The Limiter Functions CONTROL SETTINGS
THRESHOLD control +20 dB RATIO control LIM ATTACK control 0.1 msec AUTO switch OUT OUTPUT CONTROL 0 dB IN/OUT switch IN Rotate the compressors THRESHOLD control counterclockwise until an appropriate amount of gain reduction is indicated on the GAIN REDUCTION meter. The attack and release times can be modified manually. Please pay attention to the fact that too short attack times can lead to distortion and long times let dangerous transients pass the unit unhindered. The RELEASE control should be adjusted to values which avoid side effects as fluttering and pumping of the processed signal.
The signal BEFORE gain control and AFTER limiter processing

SPECIAL applications

SPECIAL APPLICATIONS
USING THE MAXCOM FOR RECORDING 1. The MAXCOM In Digital Recording And Sampling In an analog recording low recording levels lead to an increased noise level, whereas high levels will cause a compressed and squashed sound. In contrast to analog, side effects in digital always become extremely audible: with decreasing level, a recording with insufficient level loses resolution: the recording sounds hard and loses atmosphere. With excessive level, the recording sounds harsh and heavily distorted. In order to avoid these effects, the MAXCOM as a limiter should be placed before, for example, a sampler. As a result of this process, a digital recording or a sampling event can be optimally set without any problem. 2. The MAXCOM In Mastering The mastering process is one of the most critical processing steps in recording. In this production step it is the goal to achieve a maximum level copy of the recording, without any noise or distortion. In many applications it is further required to produce a high average volume. Quite often in these cases, dynamics suffer drastically, because the program material has been compressed and limited too heavily. Using the Compressor section of the MAXCOM as a limiter allows you to drastically increase the overall volume without audibly affecting the dynamics. THE MAXCOM AS A PROTECTIVE DEVICE Sound system distortion is usually a result of amplifiers and loudspeakers being driven beyond their limitations by signals clipping. The signal limitations that occur lead to unpleasant distortion that is dangerous to the speakers. A speaker diaphragm is required to accelerate, slow down, smoothly change direction and accelerate again in normal operation. Distorted operation (clipping) leads to instant acceleration, instant stop, change of direction and instant acceleration again. Since speaker diaphragms are subject to the laws of physics, they will not take this kind of punishment for long: the diaphragm will either break up or its voice coil may overheat. In addition to the damage caused by sustained overload, the speaker may also be damaged by an occasional high level overload. Even if this type of transient does not destroy a speaker outright, it may damage the speaker surround in such a way as to cause mechanical abrasion and future failure. It is recommended that you use the MAXCOM in order to protect the speaker. Brick Wall peak limiters are not normally necessary for PA systems, as amplifiers and loudspeakers are tolerant of short signal peaks. Nevertheless, conventional limiters have to be generally driven far beyond the headroom limit of an amplifier in order to limit the level and length of the transients responsible for overloading the system. The disadvantage of this principle is that the units full range cannot be completely used. If an increase in the average level of up to 3 dB is attained with the MAXCOM as a Limiter, this means that you effectively double the power amplification. The MAXCOM can act in this way to convert a PA system of 5,000 Watts into a distortion free 10,000 Watt system. The following instructions will help you to integrate the unit into your system. Protection Of A System With A Passive Crossover If your sound system incorporates a passive crossover network (included in the loudspeaker case), insert the MAXCOM between your mixing console output and the power amplifier input.

When de-essing, simply insert an equalizer not into the audio path but into the sidechain path of the MAXCOM. The equalizer is inserted between the SIDECHAIN output and the SIDECHAIN input of the MAXCOM and its center frequencies are adjusted exactly to match the frequencies of the sibilant sounds. All other frequencies are filtered out, so that with maximum attenuation of these frequency bands, along with a correctly adjusted threshold point, the unit responds solely to the selected signal being produced by the equalizer. The level of the sibilant sounds can therefore be effectively limited.

special applications

Initial Settings for the De-Esser Functions CONTROL SETTINGS EXP. THRESHOLD control OFF THRESHOLD control +20 dB RATIO control LIM ATTACK control 0.1 msec AUTO switch OUT OUTPUT CONTROL 0 dB PROCESS control IN 1 - Turn the THRESHOLD control counterclockwise until the GAIN REDUCTION meter shows an appropriate drop in level. 2 - Now adjust the equalizer corner frequencies (generally 6 - 10 kHz) until it is within the range of the sibilant. 3- Recalibrate the THRESHOLD control, so that the unit reacts only when the sibilant sound occurs. Level compensation using the OUTPUT control is not necessary. Although the recommended attack and release times for this function are proven, the time parameters can be adjusted if necessary to achieve maximum results. The AUTO function should not be used. Frequency Selective Filtering Of Unwanted Signals Based on the setup described in the de-esser section, the unit may also be used to eliminate rumble, hum and equipment noise (air conditioning systems, camera noise etc.). Adjust the frequencies of the equalizer to match the unwanted frequencies and use a peak filter with a high slope. Take care to decrease the amplitudes of the unrequired frequencies. Proceed now as described in the previous section the MAXCOM As A De-Esser. This will result in compression of the selected frequencies and thus a decrease in the gain of the program material. Suppressing Instruments During Recording Another function of the MAXCOM allows helpful correction of previously recorded material. If, for example, an excessively loud bass drum needs to be suppressed, reduce all the equalizers frequency bands above 150 Hz. This setting causes frequency specific compression, which reacts as soon as increased energy is detected in this band. By increasing the threshold level, the compression can be made to react only to loud pedal or stick actions. EMPHASIZING MUSICAL INSTRUMENTS DURING RECORDING You can use the MAXCOM to bring out an instrument solo or a lead vocal in a cluttered mix. Match the frequencies of the equalizer to the frequencies of the instruments to be emphasized and for this it is best to use a notch filter with a high slope. Please make sure that in this application, you only reduce the amplitude of the selected frequencies. The compression results is a subjective decrease in the volume of the overall program material.Only the selected frequencies coming from the equalizer remain uncompressed and are therefore perceived as being louder. This inverse type of compression also helps to emphasize instruments during low level passages, so that they become more pronounced. Reducing Feedback in PA Systems A common procedure in sound system setup is equalizing the acoustics to remove feedback. This is generally accomplished by turning up the system gain to purposely induce feedback, searching for the centre frequency of the feedback and then attenuating at that frequency to remove the feedback. Once this feedback has been attenuated, the system gain is again increased to induce another feedback point and the whole procedure is repeated until the engineer is satisfied that the relevant problem frequencies have been corrected. In spite of this

equalizing process, feedback remains a difficult problem. Often enough, acoustic changes occur as the audience enters the room, which again leads to feedback problems. In addition, the frequency response of the whole system is modified and thus affected by equalizer operation. Dynamic feedback control is a better solution. Similar to the previously mentioned de-esser application, an equalizer is not inserted into the audio path but into the sidechain path of the MAXCOM. To effectively suppress feedback, the centre frequency of the equalizer is correctly adjusted to match the rooms resonant frequency. This selected frequency now controls the MAXCOM. The signal coming from the equalizer is applied to the SIDECHAIN input, while the audio signal is routed through the MAXCOM audio path. As soon as feedback occurs, the unit temporarily reduces the system gain and thus effectively suppresses the feedback. In contrast to the technique mentioned above,the frequency response of the PA system is not affected in any way at all. VOICE-OVER COMPRESSION (DUCKING) The MAXCOM can be used to automatically reduce music to a background level, when an announcer is speaking through a microphone. For this purpose, the MAXCOM is used as an automatic fader and is controlled by the announcers microphone, which is connected to the SIDECHAIN input via a preamplifier.
The music output and the announcers voice, are then mixed. This application is known as voice over compression or Ducking and is commonly used in discos, radio stations, etc. ANTICIPATED COMPRESSION If you feed the audio signal directly into the SIDECHAIN input and send the audio signal through a delay before the audio input, the MAXCOM can anticipate the need for gain change. With experimentation, the effect can create a zero attack time at a given frequency. Additional delay beyond this zero attack time will produce a special sound effect, similar to the dynamic envelope inversion you may already be familiar with from reverse tape playback.
SERVICE/WARRANTY/MAINTENANCE
Service We recommend that if at all possible, a BBE MAXCOM which requires service be sent to our facility in Huntington Beach, California. We request that a RETURN AUTHORIZATION be issued by the dealer from whom you purchased the unit. If this is not possible, call BBE Sound, Inc. directly at (714) 897-6766, extension 116 to obtain a RETURN AUTHORIZATION. Include a copy of the bill of sale with the unit when it is shipped to BBE Sound, Inc. so that the service can be expedited. As the repair turnaround time is minimal, we request that the unit be sent to BBE Sound, Inc. We also need to add reliability data to our files so that future revisions may be undertaken, if necessary, to improve the product. If unit has been purchased outside the US, please contact your national distributor. Warranty Warranty registration of the unit to BBE Sound, Inc. is not necessary. It is strongly recommended that you retain a copy of the bill of sale for future reference. IT IS THE SOLE RESPONSIBILITY OF THE END USER TO PROVIDE THE BILL OF SALE OR OTHER MEANS OF PROOF OF PURCHASE TO VALIDATE THE WARRANTY IF WARRANTY SERVICE IS REQUESTED. The BBE MAXCOM is warranted against defects in material and workmanship for a period of two (2) years from date of purchase from BBE Sound Inc. or from an authorized dealer. During this period, we will repair units free of charge providing that they are shipped prepaid to BBE Sound, Inc., 5381 Production Drive, Huntington Beach, CA 92649. We will pay return UPS shipping charges within the USA. All charges related to non-UPS shipping, including customs clearance, will be billed. The warranty will be honored for the longer of either 90 days from the date of any service or the remainder of the original 2 Year factory warranty. This warranty will be consider null and void by BBE Sound, Inc. if any of the following is found: 1. The equipment has been physically damaged. 2. The equipment shows signs of abuse. 3. The equipment has been electrically damaged by improper connection or attempted repair by the customer or a third party. 4. The equipment has been modified without authorization. 5. The bill of sale indicates that the purchase date of the equipment is not within the warranty period. All non-warranty repairs are warranted for a period of 90 days from the date of service. BBE Sound, Inc. is NOT LIABLE FOR CONSEQUENTIAL DAMAGES. Should the unit fail to operate for any reason, our sole obligation is to repair it as described above. DO NOT RETURN ANY PRODUCT TO THE ABOVE ADDRESS WITHOUT INSTRUCTIONS AND AUTHORIZATION ISSUED BY THE ABOVE LOCATION. Maintenance Maintenance of the BBE MAXCOM is limited to proper cleaning of the unit with mild household cleaner such as Formula 409 or Windex. The chassis, front panel and cover are steel finished with a durable polyurethane paint. There are no user replaceable parts and the unit should not be opened for any reason unless you are a qualified technician. Calibration should be performed if parts are replaced or if a performance check-out indicates a problem with calibration. Long term use has shown that over the life of this unit there is little or no drift of the components in the BBE MAXCOM which would cause a change in calibration. A very conservative design philosophy has resulted in a piece of equipment which runs very cool and should give years of trouble-free service.

5381 Production Drive Huntington Beach, CA 92649 714-897-6766 FAX 714-896-0736 www.bbesound.com
covered by U.S. Patent 5,736,897 and other U.S. and foreign patents pending. BBE is the registered trademark of BBE Sound, Inc.

rev3, 9-2010

P RO F ESS I ON A L
All the sound youve never heard

BBE Sonic Maximizer

What it is and what it does.
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 speakers voice coil creates a stronger impedance as the signals frequency increases, resulting in a time delay. Consequently, frequency components with large negative phase shifts (high frequencies) arrive at the listeners ear later than signals undergoing small phase shifts (low frequencies). The resultant signal is distorted in the time domain to the listeners 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 two primary functions. The first adjusts the phase relationships
of the low, mid and high frequencies. Since a loudspeakers natural tendency is to add progressively longer delay times to higher frequencies, BBE sound technology adds progressively longer delay times to lower frequencies. This creates a kind of mirror curve to the time delay curve created by the speaker, neutralizing its phase distortion. The second major element in BBEs sound technology 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 loudspeakers efficiency problem. The BBE system, 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 journal phrased it, The most hearable advance in audio technology since high fidelity itself!

Envelope Distortion

LIVE Original live sound before amplification. First part of transient shown.
BBE OFF Same sound as reproduced by an audio system. Note initial transient lost (envelope distortion).
BBE ON Same sound reproduced with BBE processing: corrects distortion; corrects phase delay.

Sonic Maximizers

The 882i is a dual-mono Sonic Maximizer that features our fourth generation processing engine and perfectly suited for any studio, PA system, guitar/bass rig or any application that requires balanced connectivity. Features include: A fullfunction Sonic Maximizer, +23dB of output headroom, balanced or unbalanced I/O, 115dB signal to noise ratio and Hard-wire bypass.
Frequency repsonse Process mode: program controlled Bypass mode: 10Hz to 50kHz, 0.5dBu, 0dBu input Signal to noise ratio 115dB Total harmonic distortion (THD) Process mode: less than 0.025% 20-20kHz Bypass mode: less than 0.002% 20-20kHz Maximum output +23dBu Input impedance 14.7K Ohms Output impedance 600 Ohms Sensitivity -45dBu for maximum process Maximum process +12dBu boost at 5kHz Lo Contour +12dBu adjustment at 50Hz, 0dBu input
The 482i is a dual-mono Sonic Maximizer that features our fourth generation processing engine and perfectly suited for any semi-pro studio, PA system guitar/bass rig or unbalanced/-10dB input headroom signal path. Features include: A fullfunction Sonic Maximizer, +18dB of output headroom, unbalanced "/RCA I/Os, 112dB signal to noise ratio and Hard-wire bypass.
Frequency repsonse Process mode: program controlled Bypass mode: 10Hz to 50kHz, 0.5dBu, 10dBu input Signal to noise ratio 112dB Total harmonic distortion (THD) Process mode: less than 0.025% 20-20kHz Bypass mode: less than 0.002% 20-20kHz Maximum output +21dBu Input impedance 47K Ohms Output impedance 1K Ohms Sensitivity -45dBu for maximum process Maximum process +12dBu boost at 5kHz Lo Contour +12dBu adjustment at 50Hz

382iSW

Now with 4th-generation processing. Features include: Sub Woofer Control with a variable low-pass filter (30-120Hz), full-function Sonic Maximizer, unbalanced "/RCA I/ Os, 108dB signal to noise ratio and Hard-wire bypass.
Frequency repsonse Process mode: program controlled Bypass mode: 5Hz to 30kHz Signal to noise ratio 108dBu process in 120dBu process out Total harmonic distortion (THD) Process mode: less than 0.1% at 1kHz Maximum output +16dBu Input impedance 47K Ohms Nominal input level -10dBu Output impedance 1K Ohms Nominal output level +16dBu Low-pass filter range 30-120Hz (variable)

The 382iSW combines a full-featured Sonic Maximizer engine with an independent variable subwoofer low-pass filter output. Applications for this versatile unit include: mobile DJ rigs, nightclubs/theaters, studios and PA systems.
Now with 4th-generation processing. Features include: A full-function Sonic Maximizer, +16dB of output headroom, unbalanced "/RCA I/ Os, 108dB signal to noise ratio and Hard-wire bypass.
Frequency repsonse Process mode: program controlled Bypass mode: 5Hz to 30kHz Signal to noise ratio 108dBu process in 120dBu process out Total harmonic distortion (THD) Process mode: less than 0.1% at 1kHz Maximum output +16dBu Input impedance 47K Ohms Nominal input level -10dBu Output impedance 1K Ohms Nominal output level +16dBu
The 382i series delivers all the sound improving benefits of a Sonic Maximizer with the convenience of ganged-stereo operation, perfectly suited for any unbalanced studio, PA system or guitar/bass rig application.

Compressors/Crossovers

MaxCom
The MaxCom is a professional and easy to use Dual channel Compressor/Limiter/ Gate and Sonic Maximizer that provides live or pre-recorded material with clean, distortion free compression. Whether the goal is to control vocals, a stereo mix or just dial in hard limiting to protect your speakers, the MaxCom will accomplish your needs with the reliability and sonic excellence that professionals count on. Features include: A full-function fourth-generation Sonic Maximizer, world-class THAT Corporation VCAs, balanced or unbalanced I/O, dual bar-graph meters for each channel to indicate Input Level and Gain Reduction and a Key in and out via " TRS.
Frequency repsonse 20 to 20,000Hz Signal to noise ratio More than 94dB Total harmonic distortion (THD) Less than 0.05% Threshold -40dBu to +20dBu Compression ratio 1:1 to 11:1 Attack time 0.1 to 200 msec Gate threshold Off to +10dBu

Max-X3

The Max-X3 is a professional 2-way stereo/3-way mono crossover and Sonic Maximizer, which offers a variety of options for any live sound application. The Max-X3 employs state-variable 4th-order Linkwitz-Riley filters to minimize phase inaccuracies in the crossover region, which is critical for the accurate summing of each driver in a speaker stack. Features include: 2-way stereo/3-way mono crossover, full-function fourth-generation Sonic Maximizer, Linkwitz-Riley filters (24dB per octave), Servo-balanced XLR inputs, " inputs/outputs, Low-cut subsonic filters for low frequency driver protection, phase inversion switching and over a 115 dB dynamic range.
Crossover type Stereo 2-way/mono 3-way Crossover frequency Low-mid range 1: 80Hz to 1kHz Mid-high range 10: 800Hz to 10kHz Filter type Linkwitz/Riley 24dB/octave Inputs Type: balanced XLR and unbalanced " Impedance: 100kOhms Outputs Type: balanced XLR and unbalanced " Impedance: 600 Ohms Hum and noise Low section (output @ 0dB): -106dBu High section (output @ 0dB): -97dBu Signal to noise ratio 118dB

Graphic Equalizers

EQA-231
The BBE EQA-231 is a professional dual 31band graphic equalizer. ideal for use in live sound rigs and installed setups such as studio, stage, DJ and sound contracting. The EQA-231 utilizes Constant-Q filters (constant bandwidth) this means that the bandwidth of each individual filter has a perfect balance between being narrow enough to prevent unwanted interaction between filters, yet wide enough to deliver exactly the type of correction curve for the ultimate in precision equalizing.
Constant-Q filters Variable low-cut filter from 10Hz to 250Hz (12dB/octave) Variable high-cut filter from 3kHz to 40Hz (12dB/octave) True hardwire bypass Balanced XLR or TRS input/output connections Clip indicator Line voltage switchable between 115 and 230 VAC operations

EQA-215

The BBE EQA-215 is a professional dual 15band graphic equalizer. ideal for use in live sound rigs and installed setups such as studio, stage, DJ and sound contracting. The EQA-215 utilizes Constant-Q filters (constant bandwidth) this means that the bandwidth of each individual filter has a perfect balance between being narrow enough to prevent unwanted interaction between filters, yet wide enough to deliver exactly the type of correction curve for the ultimate in precision equalizing.
Constant-Q filters True hardwire bypass Balanced XLR or TRS input/output connections Clip indicator Line voltage switchable between 115 and 230 VAC operations
Transients are enhanced, becoming more tactile, more present. Nuances in the high and low end are intensified; there is an added fullness and clarity. Stereo-program becomes more three dimensional, more spacious. Dense textures become more penetrable, with a more palpable space around each discrete instrument. This is powerful stuff. Maybe its voodoo? Home Studio Recording magazine
S p e a k e r M a n a geme n t
The DS48 loudspeaker management system features 4 inputs and 8 outputs with 10 configuration templates. Choice of operating and crossover modes includes: 4 x 2-way; 2 x 3-way + 2 aux; 2 x 4-way; 1 x 5-way + 3 aux, mono dist., stereo dist.; LCRS w/mono subs; 4 x 4 processor; and muted/flat startup. Some of BBEs DS48 features include high performance limiters on each output, providing complete control over attack, release and threshold parameters, variable high and low pass filters and your choice of 6dB, 12dB,18dB, 24dB, 48dB Butterworth, Linkwitz-Riley or Bessel frequency response curve. Independent control of each high and low pass filter allows asymmetric crossover bands to be created. The DS48 can also be controlled from a PC via the DS24s RS232 connection with the included software. Along with XLR input/output connectors, DS48 comes complete with selectable line voltages between 90 and 250 VAC operations.

24-bit AD/DA, 48k sampling rate Internal 32-bit DSP processing Parametric EQ provides -40dB to +6dB of gain with frequency, gain and bandwidth adjustment Full limiter for each output 7ms delay per output RS-232 computer control
The DS26 loudspeaker management system features 2 inputs and 6 outputs, and has a 5-band parametric equalizer for each output. Outputs all feature crossover filters, 5-band parametric equalizer, selectable high and low shelving filters, fully featured limiter and delay. Full metering is provided for inputs and outputs, with mute and access buttons allowing quick set up and gain adjustment. Other features included a choice of 12, 18 or 24dB/octave roll-off, and Butterworth, Bessel or Linkwitz-Riley responses. Independent control of each high and low pass filter allows asymmetric crossover bands to be created. The DS26 can also be controlled from a PC via the DS24s RS232 connection. Along with XLR input/output connectors, DS26 comes complete with selectable line voltages between 90 and 250 VAC operations.
As close as weve seen to a magic black box, the BBE Sonic Maximizer is probably the most cost-effective improvement you can add to your rig. Its a top contender for the Biggest Bang for the Buck award. Guitar Player

DI Solutions

DI-400
The DI-400 is a high-quality professional-grade fourchannel active DIbox for touring sound applications and recording studios. It has a major advantage over other high-end rack-mounted DIs on the market, with built-in Sonic Maximizer processor, on each channel, which employs the BBE 4th-generation processing engine just like the 482i and 882i Sonic Maximizer models. The DI-400 yields excellent results with active or passive bass guitars, keyboards, and both acoustic and electric guitars. The DI-400 is an excellent choice for transferring any musical instrument signal direct to a mixing console. An active direct box, its design is completely transformerless. Nothing to color your sound, its transparency is the DI-400s greatest attribute allowing the free expression of your instruments voice unfettered. The four-channel design, with rear inputs as well as front inputs, allows it to be permanently wired and rack-mounted in a touring rig or recording studio effects rack.
Frequency response @ line out Process mode: program controlled Bypass mode: 10Hz to 50kHz (1dB) Signal to noise ratio (per channel) BBE out: 118dB power supply (115dB 9v battery) BBE in (@10): 115dB power supply (112dB 9v battery) Total harmonic distortion (THD) BBE out: less than 0.005% at -10dBu input (20 to 20kHz) BBE in: 0.05% (20 to 20kHz) Noise BBE out: -105dBu BBE in (@0): -94dBu BBE in (@10): -85dBu Input impedance instrument: 1M Ohms line: 12k Ohms Output impedance xlr: 600 Ohms line: 1k Ohms (* 0dBu=0.775Vrms)

DI-100x

The DI-100x is a high-quality professional-grade active DI box designed primarily for recording applications, it was designed without compromise with paramount importance placed on maintaining the highest sonic integrity. Its major advantage over other high-end DI boxes on the market is its built-in Sonic Maximizer processor which employs the BBE 4th-generation processing enginejust like the 482i and 882i Sonic Maximizer models. Some of the DI-100xs features include: a full function BBE Sonic Maximizer; 15dB pad switch; ground lift switch; recessed switches to reduce the opportunities for damage; no-slip full bottom pad to stop slippage and prevent ground contamination through chassis to chassis contact; and a full 5-year warranty.
Frequency response @ line out Process mode: program controlled Bypass mode: 10Hz to 50kHz (1dB) Signal to noise ratio (per channel) BBE out: 118dB power supply (115dB 9v battery) BBE in (@10): 115dB power supply (112dB 9v battery) Total harmonic distortion (THD) BBE out: less than 0.005% at -10dBu input (20 to 20kHz) BBE in: 0.05% (20 to 20kHz) Noise BBE out: -105dBu BBE in (@0): -94dBu BBE in (@10): -85dBu Input impedance Instrument: 1M Ohms Line: 12k Ohms Output impedance XLR: 600 Ohms Line: 1k Ohms (* 0dBu=0.775Vrms) Power requirements DC inlet: +9 VDC min. 200ma Battery: 9 VDC 15 hour life

DI-1000

The DI-1000 is perfect for the recording studios and has no sonic equal in any other direct box currently available. The DI-1000 can operate as either a passive impedance matching device via the Jensen JT-DB-EP transformer, or as an active DI where the Sonic Maximizer circuit can be engaged with the signal still balanced at its output by the Jensen transformer. Some of the DI-1000s features include: a full function BBE Sonic Maximizer; Jensen JT-DB-EPC transformer; purely passive or completely active operation; switchable 0/15dB/30dB pad switch; ground lift switch; internal pure-silver wiring; recessed switches to reduce the opportunities for damage; no-slip full bottom pad to stop slippage and prevent ground contamination through chassis to chassis contact; and a full 5-year warranty.

Frequency response @ XLR balanced out Process mode: program controlled Bypass mode: 5Hz to 30kHz (1dB) Signal to noise ratio BBE out: 123dB power supply (118dB 9v battery) BBE in (@10): 118dB power supply (113dB 9v battery) Total harmonic distortion (THD) BBE out: less than 0.02% at -10dBu input (20 to 20kHz) BBE in: 0.1% at -10dBu input (20 to 20kHz) Noise Passive: -115dBu Active (BBE in @0): -110dBu Active (BBE in @10): -105dBu Input impedance Instrument: 1M Ohms Line: 12k Ohms Output impedance XLR: 600 Ohms Line: 1k Ohms Phase deviation Passive: less than 1 @ 20Hz, 0 @ 1kHz Active (BBE out): less than 11 @ 20Hz, 0 @ 1kHz (* 0dBu=0.775Vrms) Power requirements DC inlet: +9 VDC min. 200ma Battery: 9 VDC 15 hour life

Magnum D.I.

The Magnum D.I. is a professional active direct box housed in a rugged, ergonomic 14-gauge steel chassis, military-grade PCB, 2-way selectable pad (0dB/-20dB), ground lift, and can be powered by +48v Phantom power.
" input (unbalanced) thru (unbalanced) +48v Phantom power status LED 2-way input pad selector (0dB/-20dB) XLR output (balanced) Ground lift switch

Bench Press

Vintage Compressor The Bench Press is a vintage compressor that was patterned after the long discontinued Ross compressor. The heart of the Bench Press is fueled by a NOS CA3080 OTA (Operational Transconductance Amplifier) and 1% metal film resistors for better fidelity and features an Attack control to offer players more flexibility than the original.

Boosta Grande

Stomp Boxes
Boutique doesnt mean expensive.
Transparent clean boost The Boosta Grande is a transparent clean boost that is designed to produce up to 20dB of clean gain and benefit the player needing more volume or gain without changing their tone.
BBE stompboxes are not only 100% analog and designed in the USA, they are engineered and manufactured to specifically alleviate issues of reliability and inconsistency normally associated with vintage and homegrown manufactured effect pedals. Our pedals combine a boutique-style vibe with worldclass engineering, low tolerance/high quality components, true hardwire bypass switching and a five year warranty, all at a price that every musician can afford.

Crusher

High gain distortion The Crusher is a high gain distortion with a passive 3-band EQ (bass, mid and treble) that provides the player with a wide range of distortion effectsfrom a mild crunch to over-the-top, in your face distortion.

Features True Hard-wire bypass switching Road-worthy aluminum chassis High grade components Blue LED status indicator Easy access 9-volt battery compartment Non-slip rubber bottom Five year warranty

Free Fuzz

Seventies silicon transistor fuzz The Free Fuzz was patterned after a rare and sought-after silicon transistor fuzz pedal made famous by players like Jimi Hendrix in the late 60s. The Free Fuzz provides a wide range of creamy, dynamic fuzz effects with an almost endless amount of sustain for soloing and chunky rhythms.

Green Screamer

Vintage overdrive The Green Screamer is a vintage overdrive capable of producing a wide dynamic range of smooth and warm overdrive tones associated with vintage tube amps.

B B E S t o m p B o x es

Mind Bender
Dual-mode vibrato/chorus The Mind Bender is a dual-mode vibrato/ chorus that utilizes a BBD (Bucket Brigade Delay) circuit and produces a wide range of lush vibrato/chorus and rotating speaker effects.

Tremor

Dual-mode analog tremolo The Tremor is a dual-mode tremolo that utilizes an optical circuit to create a wide range of warm pulsating sounds normally associated with the vibrato effect of vintage tube amps. The Tremor offers the flexibility of two independent speed controls that are foot switchable to enable a player to select between a slow and a fast tremolo at the stomp of a switch.

Opto Stomp

Optical compressor The Opto Stomp is a transparent optical compressor that provides players with a wide range of soft-knee compression effects, reminiscent of the best vintage optical-element compressors made in the 60s. Perfect for use with bass and acoustic instruments.

Two Timer

Dual-mode analog delay The Two Timer was inspired by the long discontinued DM-2 Delay, which was known for its warm, haunting reverb and tape-like echoes. The Two Timer offers two independent delay times foot switchable via the time 1/time 2 mode switch. This makes it possible to have one delay set up for a short slapback rhythm sound while another is set to a longer delay for solos.

Sonic Stomp

Sonic Maximizer The Sonic Stomp is a stompbox version of our ever-popular Sonic Maximizer. The Sonic Stomp was carefully designed to deliver the same sonic improvement as our rack-mounted 482i Sonic Maximizer, adding clarity, definition and punch to any instrument.

Sixties wah-wah The Wah is based on a 1967 Class A circuit design that featured a unique Halo inductor. BBE has re-engineered and customtuned the Halo inductor and potentiometer to re-create the expressive tones made famous by players like Eric Clapton and Jimi Hendrix. In addition, weve added a harmony control to help fine-tune the Wahs Q/ peak response, and handwired all components are for the ultimate in vintage authenticity.

Soul Vibe

Sixties rotary speaker simulator The Soul Vibe is a vibe/rotary speaker simulator known for its chewy phase-like textures made popular in the late 60s and early 70s by such players as Jimi Hendrix, David Gilmour and Robin Trower.

Supa-Charger

Universal power supply The Supa-Charger is a high performance universal pedal power supply that features: a custom wound zero hum toroidal transformer; eight outputs that are isolated, regulated and filtered; and a selectable input mains switch to accommodate 110-220 voltages, enabling the Supa-Charger to be used worldwide.
I n s t r u me n t P r e a m p s

Acoustimax

BBE is at the forefront of audio technology which allows amplified music to sound more natural, and the latest generation of BBE High Definition Sound technology is a vital element to the new Acoustimax acoustic preamp. In the four years since BBE last offered its award-winning 386 acoustic preamp, BBEs design and engineering team studied the serious acoustic players needs for both recording and sound reinforcement. The result is Acoustimax, a foot-pedal-style (or stompbox-style) acoustic preamp which raises the bar for amplified acoustic instrument sound quality. Acoustimax is packed with features including three band, recording-console quality eq with a sweepable mid -range band, low frequency notch filter, phase reversal, ground lift, line level out, dedicated tuner out and TRS effects loop, even a pre/post switchable-balanced DI output with pad. Other features include hardwire bypass, non-slip rubber bottom and the included 12v power supply.

Frequency response 50Hz to 20kHz Treble 12dB @ 10kHz Mid 12dB @ 400kHz to 2.5kHz Bass 12dB @ 60kHz Notch 0 to -12dB @ 70Hz to 250kHz BBE Lo Contour: +15dB @ 50Hz Process: +15dB @ 10kHz Maximum output +10dBu @ instrument jack Noise Instrument jack: -98dBv (unity gain) Line out: -88dBv (+10dB gain) Total harmonic distortion (THD) 0.05% @ 1kHz Impedances Input: 2.2M Ohm Tuner out: 2k Ohm Line out: 1k Ohm Instrument out: 2k Ohm XLR out: 600 Ohm (* 0dBu=0.775Vrms) Power requirements DC inlet +12 VAC min. 200ma
The BMAX is a high quality bass preamp/ processor with applications both in the recording studio and on the road in demanding live applications. The BMAX has the warmth and dynamic range usually found in all-tube designs and delivers the punch and clarity of the best tube preamplifiers. At the heart of the BMAX is a class A/B front-end, the input of which emulates the loading effect that the input of classic-design tube preamp would present to the bass pickups, and one of the key aspects in the warmth and punch of tube preamps. The DI section is pure and clean with electronically- balanced output. 1% metal film resistors, military-spec PC board complete the no-compromise design of the BMAX.
Frequency response @ line out 15Hz to 30kHz 3dB Signal to noise ratio 100dB @ unity Total harmonic distortion (THD) Less than 0.02% Maximum output +22dBu Noise -77dBu @ unity gain, eq flat Input impedance Balanced XLR: 600 Ohms, pin #2 hot or + Unbalanced ": 1k Ohms Output impedance Balanced XLR: 600 Ohms, pin #2 hot or + Unbalanced ": 1k Ohms Interactive EQ Treble (boost only): 18dB @ 6kHz Mid (cut only): 12dB @ 300Hz Bass (boost only): 16dB @ 40Hz Bright switch +8dB @ 5kHz, eq flat Para-mids 12dB from 250Hz to 1kHz (* 0dBu=0.775mVrms)

BMAX-T

The BMAX-T is a high quality tube bass preamp/processor with applications both in the recording studio and on the road in demanding live applications. At the heart of the BMAX-T is a class A, DC regulated tube preamp section which follows in the tradition of the classic tube preamp designs of the 50s and 60s. The BMAX-T features a high voltage (300V) tube front end with hand-picked Groove Tubes 12AX7 tube, providing all of the pre-amp gain and passive interactive tone control. The high-end DI section is transformer-balanced with a genuine Jensen transformer for the ultimate in warmth and presence. 1% metal film resistors, military-spec PC board and custom-made toroidal power transformer complete the no-compromise design of the BMAX-T.

Frequency response @ line out 15Hz to 30kHz 3dB Signal to noise ratio 100dB @ unity Total harmonic distortion (THD) Tube section: 1% Post-tube section: less than 0.02% Maximum output +22dBu Noise -77dBu @ unity gain, eq flat Input impedance Passive: 1M Ohm Active: 100k Ohms Output impedance Balanced XLR: 600 Ohms, pin #2 hot or + Unbalanced : 1k Ohms Interactive EQ Treble (boost only): 15dB @ 6kHz Mid (cut only): 15dB @ 300Hz Bass (boost only): 15dB @ 40Hz Bright switch +10dB @ 10kHz, eq flat Para-mids 12dB from 250Hz to 1kHz (* 0dBu=0.775mVrms)

S o ft w a re

Sonic Sweet
BBE Sound, creators of the Sonic Maximizer and a leading manufacturer of professional and musical audio electronics, introduce the Sonic Sweet. The Sonic Sweet consists of three professional and easy to use Dynamics, Enhancement and Audio Enhancement plug-ins necessary for every facet of digital audio production. Whether youre tracking, editing, mixing or mastering, the BBE Sonic Sweet will give your projects a professional touch. Sonic Sweet supports sample rates up to 192kHz and is compatible with all AU, RTAS and VST host applications including ProTools, Logic, Cubase, Cakewalk and Digital Performer for Mac OS X, Windows 7, Vista and XP.
Operating system Windows XP Windows Vista 32/64-bit Windows 7 32/64-bit Mac OS X (10.4, 10.5 or later) Plug-in format Audio Unit RTAS/AS-Pro Tools 7 software or later VST 2.4 Sample rates Up to 192kHz sample rates supported

Stomp Ware

Stomp Ware is a suite of eight plugins modeled from our very own line of boutique analog stomp boxes. The suite consists of our Free Fuzz (70 fuzz), Green Screamer (vintage overdrive), Mind Bender (vibrato/chorus), Opto Stomp (optical compressor), Sonic Stomp (Sonic Maximizer), Soul Vibe (60 rotary speaker simulator), Tremor (vintage tremolo) and Two Timer (analog delay) to warm up every facet of digital audio production. Stomp Ware supports sample rates up to 192kHz and is compatible with all AU, RT AS and VST host applications including ProTools, Logic, Cubase, Cakewalk and Digital Performer for Mac OS X, Windows 7, Vista and XP.

The BBE Technology

Founded in 1985, BBE Sound, Inc. develops advanced audio enhancement technologies for not only the music and professional audio markets, but is also a global leader in high definition audio enhancement technologies for the Consumer Electronics marketplace. Manufacturers such as Panasonic, Clarion, Philips, Cowon, Sony, Hitachi, LG and many others proudly feature BBE technologies in products such as televisions, MP3 players, telephones, automobiles, and more. Look for the BBE Sound logo on all your Consumer Electronics products. It is the indicator of superior sound quality. I heard better dynamics and cleaner sound. restores a proper stereo imaging and separation. 15-20% increase in apparent openness and separation. the results were excellent. Stereophile

BBE Sound, Inc. 5381 Production Drive, Huntington Beach, CA 92649 Tel: 714 897-6766 Fax: 714 895-6728 www.bbesound.com
Recycled with 25% post-cosumer waste.