Behringer Edison EX1

deknow · Posted: Sat Feb 04, 2006 2:40 pm Post subject: Behringer Edison EX1

...perhaps this belongs somewhere else?

i'm curious if anyone else has experience with the behringer edison. i got one a number of years ago (i was working in an audio shop, and was able to hear what it did before i bought it).

in a nutshell, it compares the two stereo channels and separates out the center channel and the stereo part.

there are 5 knobs (2 are obvious, gain and balance) the others are:
stereo spread
low/mid frequency spread
center channel distance

it's one of those effects that is almost subtle until you start a/b'ing it. using it, i can hear detail in commercial recordings (especially older ones) that i had never heard before. moving the center channel distance, stereo spread, and the lmf spread can really transform a recording. i'm going to get another one for my home stereo (i think they even made a car version at one point).

supposedly, it is similar the the B.A.S.E processors (i know nothing about them), and i was curious if perhaps this overlaps with robs distance filter.

anyone else ever use one? anyone have opinoins? there is a "transformer output option" that i would also like to explore. ...there is also a "stereo correlation meter" that shows you when you are going to have cancelation if played back in mono.

more info at:
http://www.behringer.com/EX1/index.cfm?lang=ENG

mosc · Posted: Sat Feb 04, 2006 2:48 pm Post subject:

It would be great to get some techinical info on this. These things could be built with some tools like the G2, Reaktor or MAX/MSP. I guess it wasn't a very big seller. Maybe not a great seller for audiophiles, but it could be a fabulous tool for musicians trying to improve the spaciality of their recordings.

jksuperstar · Posted: Sat Feb 04, 2006 3:05 pm Post subject:

I don't know (yet) about the Edison, but many of these processors will tend to break the signal into an M-S type, then uses group delay for "depth" on the center channel, mixing of Mono & Sideband signals to get width, and the low/mid spread really helps with room acoustics and working with speakers.

I am very interested in getting a model of this on the G2. Time for homework...

mosc · Posted: Sat Feb 04, 2006 3:10 pm Post subject:

I generally dislike these spacial processors when I come across them in commercial amplifiers. They sound good for a short time but then whatever they do becomes transparent and it starts having a phoney sound, like a lot of stuff where a lot of reverb and echo is used. To have a patch that could change over time might overcome this disadvantage.

elektro80 · Posted: Sat Feb 04, 2006 6:04 pm Post subject:

I have used the Edison myself. It`s good.

seraph · Posted: Sun Feb 05, 2006 3:46 am Post subject: Re: Behringer Edison EX1

jksuperstar · Posted: Sun Feb 05, 2006 2:58 pm Post subject:

I like the sound of these in *some* live situations. Many electro-music shows (that I've been too or done) are in warehouses, or some form of party situation. It's usually not the ideal acoustic setting, and little time for setup & sound check. So having an effect like this helps control the hard concrete walls, or the sound of a small / odd shaped room.

renevanderwouden · Posted: Sat Feb 25, 2006 4:04 am Post subject:

I had the Edison for years and found it the best Behringer product ever, because it was in fact a DBX. Just as the early Ultrafex. Build like a tank.

deknow · Posted: Sat Feb 25, 2006 5:19 am Post subject:

renevanderwouden · Posted: Sat Feb 25, 2006 6:49 am Post subject:

When you open up the old Behringers from Mid-nineties, you will see some DBX logo's.

paul e. · Posted: Tue Feb 28, 2006 11:38 pm Post subject:

mhhh that might explain the almost universal indifference to DBX products among studio types...

deknow · Posted: Sun Jun 10, 2007 12:12 pm Post subject:

from:
http://www.soundonsound.com/sos/1994_articles/sep94/behringeredison.html

We contacted Ulrich Behringer to ask him if he might describe how the Edison works. He gave the following explanation:

"The technical principle behind the Edison is not the normal means of stereo width enhancement, i.e. using mixers and phase cancellation. The Edison is based on a principle first used in a product called the B.A.S.E. from Bedinin, which costs about $4000.

"First of all, we create a mono signal (L+R) and the stereo part of the original signal (L-R). We then start to process these signals. In order to achieve greater ambience reception, we use a program-dependent delay on the stereo part and a low-mid frequency filter as well, which allows boosting or cutting of those frequencies which are normally hard to perceive as being in stereo (i.e. low-mid frequencies).

"For the mono part, we allow the user to shift the mono content from left to right in order to correct, say, a mixdown error, where, for example, the singer might not be in the middle of the stereo image. The singer may also be shifted closer or further away with the Center Distance control.

"Our customers (e.g. Hit Factory in New York), found this unit very useful in controlling their final mixes. Together with the phase meter, they find it a superior and extremely cost-effective unit. We feel it is particularly good value as a phase meter normally costs three times the price of the whole Edison, which may go some way towards explaining why the Edison is one of the best-selling products in our range."

platinum777 · Joined: Feb 08, 2025 Posts: 1 Location: new york

1. Signal Separation:
Mono Signal (L+R): The first step is to create a mono signal by summing the left (L) and right (R) channels. This mono signal represents the common elements in both channels.
Stereo Signal (L-R): The next step is to derive the stereo component by subtracting the right channel from the left channel (L-R). This signal captures the differences between the two channels, which is essential for creating the stereo image.
2. Processing the Signals:
Program-Dependent Delay: The stereo part (L-R) is processed with a delay that is dependent on the program material (the audio being processed). This means that the amount of delay applied can vary based on the characteristics of the audio, which helps to enhance the perception of space and ambience.
Low-Mid Frequency Filtering: The plugin employs a low-mid frequency filter to boost or cut frequencies that are typically less perceptible in stereo. Low-mid frequencies can often be masked or less defined in a stereo mix, so adjusting these can help clarify the stereo image.
3. Mono Content Manipulation:
Shifting Mono Content: The Edison allows users to shift the mono content (the L+R signal) left or right in the stereo field. This feature is particularly useful for correcting mixdown errors, such as when a vocal or instrument is not centered in the stereo image.
Center Distance Control: This control allows users to adjust the perceived distance of the mono content from the listener. By shifting the mono signal closer or further away, users can create a more balanced and spatially coherent mix.
4. Phase Meter:
The Edison includes a phase meter, which is a tool that helps users visualize the phase relationship between the left and right channels. This is important for ensuring that the stereo image is not only wide but also coherent and free from phase issues that can lead to problems in playback on different systems.
5. Practical Applications:
The combination of these features makes the Edison particularly useful for mixing and mastering engineers. It allows for precise control over the stereo image, helping to create a more polished and professional sound. The ability to manipulate both the stereo and mono components independently provides flexibility in achieving the desired spatial characteristics in a mix.