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Aphex Systems
View more 1788A-RC Microphon...
View more Mic Pre-Amp
| Quantity | 15 |
| Condition | Like New |
| Location | North America |
| Previous Use | Corporate |
| Warranty | 7 Day |
Used 3-6 times per year for classical and gospel productions/recordings/broadcast. I haven't used this system in the past year and it looks like I won't be anytime soon. In perfect working order and in like new condition.
May sell items separate or create alternate packages
(3) 1788A 8channel remote controllable Microphone PreAmp with Digital Cards.
(1)1788A Remote Controller
(3) RME ADI648 ADAT-MADI/ MADI-ADAT Converter, Digital Splitter, audio interface & Snake.
(2) RME HDSP PCI Cards (For production/Recording/ Broadcasting Systems)
(1) Dell XPS400 PC Computer with 17" Monitor
(1) SKB 14 Space Shock Mount Case with Rotopad
(1) SKB 16 Space Shock Mount Case with Rotopad
(2) 50' MADI-Optical Cables
This package includes 400 FT of various length of unused Canare coaxial cable -see photos
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Aphex is dedicated to the development of high-quality products for the professional audio, broadcast, fixed installation, touring-sound and home-recording markets. Through that dedication, Aphex has developed a number of industry-standard...
Almost all live applications require the monitoring of mic preamp gain. If there isn't an engineer sitting next to the preamps on stage, there must be a way to control them from a remote position.
All parameters of the 1788A are remotely or locally controllable, and setups, snapshots, and recall of presets are quickly and easily available.
The Remote Control protocol for the 1788A is Ethernet. 8 banks, 16 units, or 1024 Channels can be remotely controlled.
There are three ways to control the 1788A remotely:
1) Via the 1788RC - Hardware Remote Controller
2) Via PC or Mac running the 1788SW controller software (Win 95/98/2000/XP or Mac OS X compatible)
The control software has a screen which displays all parameters and metering of one unit at a time and up to 16 units may be called up. All channel status information and metering are displayed in real time. A channel can be selected and settings modified. Scenes can be saved, modified and recalled in the control software. The software also contains a 'learn' function in which the channel(s) adjust the preamp gain to a definable peak value based on the input level during the 'learn' time.
A representative screen from the software is shown below.
3) Via any device that generates MIDI, such as a MIDI controller, mixer, sequencer, or show control system
Aphex is dedicated to the development of high-quality products for the professional audio, broadcast, fixed installation, touring-sound and home-recording markets. Through that dedication, Aphex has developed a number of industry-standard devices, such as the Compellor®, Dominator®, Expander/Gate� and Expressor,� plus the Model 1100 Two-Channel and Model 1788 Eight-Channel Ultra-Precision Remotely Controllable Microphone Pre-Amplifiers, and the Model 2020 Mk III Broadcast Audio Processor. Each product contains one or more of the over 30 proprietary inventions (patented or patents pending). A key element of all the dynamics processing products is the firm's state-of-the-art Voltage Controlled Attenuator, the Aphex VCA 1001.
The mic pre-amp (also known as the microphone preamplifier) is an essential sound engineering device that allows the microphone signal to be easily processed by other devices. Usually, the microphone signals are not strong enough to penetrate units like the mixing consoles and recording equipment. Thus, the microphone pre amp heightens the signal so it can reach the required signal strength by the devices. For instance, the dynamic microphone has an output voltage within the range of 0-100 (microvolt). This is too low so the microphone pre-amp heightens the level approximately 70 dB or 0-100 volts. The result is a stronger signal that creates better sound quality. The mic pre-amp supplies ample gain and at the same time, it prevents the noise generated that could possible distort the signal. It also serves as a transducer that generates a kind of coloration or effects to an audio mix. Normally, sound engineers would emphasize the effect of the mic pre-amp to the overall quality of the sound of the audio mix. The pre amplifier usually charges the microphone with low impedance and this makes the microphone to work double time, resulting in the modification of the tone quality. The audio mixers already have built in preamplifiers but the mic pre-amp adds extra effects to the audio mixerâ??s effects. There are some types of microphones such as the condenser microphones that need the mic pre-amp to function. There are also pre-amps that comprise the channel strip together with the recording equipment like equalizers, compressors, noise gates, etc.
