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KuSh Audio The Clariphonic User Manual

Two channel, fully parallel dual high-shelving equalizer

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tm
The Clariphonic
is the world's first and only two channel, fully
parallel dual high-shelving equalizer.
Parallel equalization is
probably new to you, but the underlying process is old hat: if
you've ever bussed your drums to a compressor, smashed them
into artful submission, then blended the result back in with
your dry, uncompressed drum tracks, you understand parallel
processing. What makes the Clariphonic so special is that it
performs the same trick with equalization rather than
compression, and it does all of the bussing and blending
internally so you don't need to sweat multiple signal paths,
latency issues, or any of the other small headaches that
accompany parallel processing in the era of hybrid analog &
digital recording studios.
When you couple this unique parallel architecture with the
starkly minimal, mastering grade signal path and marry it all with
the inimitable UBK
tm
interface, the result is an approach to
high frequency equalization unlike any other in existence. The
ability to sculpt every aspect of the upper registers from 800hz
– 38k gives you a form of treble control never seen or heard
before, with an effect on the sound that is almost holographic
in its depth and realism.
The Clariphonic produces a presence, sparkle, and air that
everyone wants but few could traditionally afford to obtain.
Congratulations, you've just obtained it.
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Summary of Contents for KuSh Audio The Clariphonic

  • Page 1 What makes the Clariphonic so special is that it performs the same trick with equalization rather than compression, and it does all of the bussing and blending internally so you don’t need to sweat multiple signal paths,...
  • Page 2 Full Frequency Matrix When your signal enters a channel on the Clariphonic, it is split across 3 parallel paths, like 3 channels on a console. 1 of those channels, your Full Frequency (FF) signal, goes directly to an internal summing buss and is never processed or altered in any way.
  • Page 3 It takes time to become truly sensitive to the extreme hf detail and articulation this unit brings to the table. What may happen as you get to know the Clariphonic is that you’ll frequently realize you’ve gone too far, so you’ll start backing off to get it to sound balanced, and you’ll keep backing...
  • Page 4 The Focus Engine packs a tremendous amount of equalization power into two switches and a knob. The primary thinking behind this engine was to provide a seriously transformative pair of shelves that reach deep down into the midrange to allow for broad adjustments to the timbre and raw energy of the sound.
  • Page 5 1k-2k area, or on a whole mix that’s having trouble reaching out of the speakers . As with all the filters on the Clariphonic, it’s tempting to fall into the trap of turning it up more and more to hear the goodness, but it really is crazy how little of this boost you actually need in order to bring about meaningful change.
  • Page 6 And as with Lift, the real power of Open lays in using it as a ‘first-stage’ filter in conjunction with the Clarity Engine. The parallel nature of the Clariphonic allows for a tiny amount of gain on both engines to cause serious shifts in the perceived high frequency content of the program while adding very little actual equalized sound to the internal mix buss.
  • Page 7 This control got its names from the effect it has on hi-hats coming thru the overheads. With Diffuse engaged, the cymbals take on a softer, more spread quality as the shelf keeps on lifting all the way up past what we can hear. But when you switch to Tight, the hats come more into focus as the emphasis shifts away from the air and more towards the presence.
  • Page 8 The whole point of the Clarity Engine was to give engineers access to the kinds of ultrasmooth, pristinely analog high frequencies normally found only in very expensive and coveted equalizers. Units like Massenburg’s 8200, the venerable Sontec, Cranesong’s amazing IBIS… most of us will never have the privilege of gracing our racks with any of these stunning processors, which is a shame, because they offer something up top that almost everyone wants.
  • Page 9 Engine because it layers well with a touch of Lift or Open from the Focus Engine. What sets Presence apart from all the other bands on the Clariphonic is its ability to radically alter how audible a sound is in a mix without actually pulling it upwards. Instead, it pulls things straight towards you;...
  • Page 10 Sheen can wake things up in a gentle, unobtrusive way. When it comes to processing the whole mix, Sheen is the highest band on the Clariphonic that’s likely to affect any of the frequencies people hear when listening on lesser consumer systems, boomboxes, cheap earbuds, and computer speakers;...
  • Page 11 If Shimmer & Silk were the only bands on the Clariphonic, it would still be worth the money… they’re that sweet.
  • Page 12 --- were designed by my good friend and tone guru Kevin Hogan. The face of the Clariphonic --- the name, front panel design, and bizarre switching matrix interface --- were designed by yours truly, Gregory Scott aka ‘ubk’.