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I've been using BBE daily since about 1995

I cannot listen to some recordings without it. I have a 462 and it's successor, the 482. It's remarkable. Here's what the BBE process is:

1. Fixed phase correction to compensate for woofer/tweeter offset.
2. Variable narrow Q bass control centered at 50 Hz to compensate for woofer and recordings rolloff.
3. Variable bump at 5 kHz to increase air and presence.

Despite initial response to what it does as described above, used judiciously the results range from subtle but noticeable to dramatic. How you set it depends on the system/speakers, recording and room. Once you get used to using it, adjustments are easy and quick. I have my 462 in my main system and leave it at one conservative setting. I do not use it on all recordings, but a majority seem to benefit from it. Unlike with some other signal processors, there are no ill effects from setting it too high, etc., which is common in the beginning because the effects are so natural sounding.

The 482 is an update of the 462 and has single ended inputs/outputs. A balanced I/O version is available. The 482 takes the 6 op amps used by the 462 and puts them onto the BBE chips. Unlike with the older 462, there are no calibration trimpots. All that is inside is a power supply, 2-BBE 28 pin chips, Polyester capacitors and all metal film resistors. The unit is well made with a 1/4 inch thick front brushed aluminum anodized faceplate and well painted chassis. I paid around $170 with shipping for each unit.

Both my 462 and my 482 were gutted and rebuilt with matched between channels Matsushita PPS caps with OFC leads, matched Matsushita FC and Nichicon muse electrolytics, Schottky rectifier diodes and in the case of the 462, better op amps than the TL072's supplied.

The units have no noise whatsoever and do nothing bad sonically. Installed within a tape monitor loop, they can be turned off when desired. There is a bypass switch if you want to install it between the pre and power amp.

What's amazing is what happens when you turn it off! The sounstage collapses and the sound takes on a lifeless flatness. It's not at all like any tone control. Being able to make horrible recordings like Aqualung very listenable is worth the price of admission. I would not be without one at this point.

Feel free to ask any questions.


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  • I've been using BBE daily since about 1995 - nightdoggy 08:02:20 03/14/07 (0)


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