BEDINI AUDIO SPATIAL
The B.A.S.E Processor
allows you to hear more of the ambient acoustics that were present
during the actual recording.
In the mixing process
of stereo, which includes mono and stereo information, the mono
information can be enhanced to create a desired acoustic effect
or placement. The stereo space can simultaneously be increased
or decreased. Adjustment of either does not diminish the effect.
Our B.A.S.E. process,
unlike most other systems, is not hardware or software dependent.
Once the B.A.S.E. process is applied, any stereo system will reproduce
In stereo playback,
the "sweet spot" is greatly enlarged and the entire
mix has an out of speaker presence. Video applications include
special effects and matching audio to video movement without loss
of sonic value.
The B.A.S.E. process
is compatible with Dolby, Dolby Surround, DBX, Etc.
The B.A.S.E. process
can be applied to recordings, films, live broadcasts, concerts,
In the USA B.A.S.E.
is used by the professional industry in a varity of applications,
especially in the realm of stereo enhancement. The B.A.S.E. processor
analyzes and separates a stereo signal into a stereo and mono
circuit. The mono information can be moved forward, backward,
side to side or anywhere within 360 degrees without loss of stereo
ambient space. The stereo space can be increased or decreased
while the mono signal is set anywhere desired. The results is
an enhanced signal that goes beyond stereo, while enabling the
user to be in complete control of all spacial aspects.
When B.A.S.E. is applied
in the mixing or mastering process the effect can be quite amazing,
it is the only process that can create a Holographic Audio Image
in open air. Processing in 35mm motion picture mixing or 70mm
mixes could be encoded with B.A.S.E. processing on both the outermost
left/right channels, as well as the stereo-surround channels,
to create a seamless, 360-degree spacial environment.
one of the first entries of a new breed-an upcoming revolution
in signal processing.
B.A.S.E. first came
to Europe in 1990 making its recording debut with Swiss band Yello,
followed by revolutionary early 3D cuts in the UK from Orbital
(FFRR/Internal) and Caspar Pound/Larry Lush (Rising High). Live
use of B.A.S.E. began at Stern's Interdance, in 1991 epicenter
of the UK rave scene. This legendary nightclub was the first to
adopt 3D sound as a regular feature for its underground dancefloor
with leading DJs LTJ Bukem, Moby and Carl Cox becoming the first
to use B.A.S.E. creatively. Latest B.A.S.E. enhanced sound event
on the London club scene is in conjunction with the 6K watt system
installed at The End WC1 for Billy Nasty's "Torture."
B.A.S.E. is single
ended, which means it can be applied in the live mix to create
3D effects which everyone present can hear. Equally once B.A.S.E.
has been used to record a mix in the studio, no extra equipment
is necessary to reproduce the effect when the finished disc is
played back at home.
do the Pros say about radio broadcasts?
"It makes normal
stereo sound like mono." Trevor Wyatt A&R manager
Experimental Live broadcasts
on Radios One and Four plus a regular feature on Colin Favers
Kiss FM show, demonstrated B.A.S.E. to be fully broadcast ready
by the mid 90's.
"It makes the
other stations sound flat." Steve Jackson, Broadcaster
KISS 100 FM
"I really didn't
think anyone would take any notice, but that's definitely not
been the case, as we've had a lot of listeners phoning in about
the new sound." Andy Howard, Chief engineer KISS 100
Will B.A.S.E. be compatible
with my broadcast application?
B.A.S.E. is fully mono
compatible, the 3db of cross channel enhancement folding completely
when AB'ed. B.A.S.E. is also compatible with all Dolby TM surround
systems including 5.1.
When 5.1 and B.A.S.E.
are combined, as for the annual Glastonbury festival cinema field,
the stereo image becomes more coherent and seamless than with
the Dolby matrix alone. This is perhaps a one could expect as
a product of the world's leading designers in the field of virtual
sound. Films such as Total Recall, Star Trek 5 and Halloween 4,
all recorded in B.A.S.E., pay ample testimony to this.
Will B.A.S.E. be compatible
with my system?
B.A.S.E. has left and
right input and output connections for a line level stereo audio
signal. The gain structure of B.A.S.E. is suitable for 0/+4 dB
pro-audio applications. Left and right XLR inputs are switchable
to balanced line, jack inputs are unbalanced. Signal is returned
via either balanced XLR left/right outputs or unbalanced jacks.
A center channel side chain is available for three track applications
and optional center/mono dubbing.
"The 3D sound
effects are brilliant, cavernous collages of primary colour."
Altern-8 review of Orbitals Mutations EP NME 93
The versatility of
B.A.S.E. makes it an indispensable tool for 3D audio processing
in either tracking or mix down, postproduction, mastering or off-line
editing applications. Used at any stage of the audio chain, B.A.S.E.
can create a clear, uncolored rendition of the original recording
in holophonic 3D sound.
How do they do that?
The exact modulation
that allows B.A.S.E. to create its unique sensory effects is among
trade secrets known only to a handful of people at Bedini Electronics,
Inc. Presumably, to best pioneer new developments they will keep
this knowledge from the public arena. What can be said is that
the system uses a form of interferometry to fool the ear, allowing
the listener's right ear to hear exclusively right channel information
whilst the left ear hears only the left. This leaves the listener
in no doubt, that without headphones, 50 Hz rooms, waveguides
or any other gadgetry, he/she can perceive sounds coming from
around the room, and is free to walk around with a truly balanced
rendition of both speakers in his/her headspace at any time.
really has to be heard to appreciate the 3D effects its able to
create." Phil Earle, Label Manager Law & Auder
C.T.S. Studios * XOR
Cutting Rooms * Roundways Studio *
Whitfield Street Studio
RELEASES RECORDED IN B.A.S.E.
Deeper Shade of Hooj
various/Red Jerry Hooj 98
Fusion Sven Vath Virgin
Female of the Species
various/Phil Earle Law&Auder 99
Ibiza Anthems Pete
Tong/Judge Jools Ministry 98
Ku Well Wicked 99
Shylo 20th Century Soul 99
UNITS IN USE
Big Oak Productions,
Mr Mike Boles
Mr. Bruce Botnick
Electronic Melody Studio,
Mr. Allan Howarth
Mr. Denny Purcell
Masterfonics, Mr. Glenn
The Complex, Mr. Greg
Mr. Peter Vargor
E.F.X. Systems, Mr.Pat
Mr. Stephen Marcussen
MCA/Whitney, Mr. Gene
W.O.K.K. Radio, Mr.
Mr. Jimmy Bowen
Sound Stage Studios,
Mr. James Stroud
Mr. Charles W. Fetyko
HUNT FOR RED OCTOBER
BACK TO THE FUTURE
Disney's LITTLE MERMAID
STAR TREK V "The
MGM/UA Home Viedo used
B.A.S.E. processingon on Rolling Stone Magazine "20 YEARS
MTV videos for Jackson
INXS and Def Leppard
feature B.A.S.E. on their videos and laser discs as well
"A STAR SALUTE
TO LIVE MUSIC" at the Riviera Hotel in Las Vegas.
Frank Sinatra, Milton
Berle and the Mills Brothers were among the performers at the
show, which also featured a 45-piece orchestra.
ARTISTS WHO USED B.A.S.E.
Waylon Jennings, Charley
Mc Clain, Rose Carter
Steve Wariner, Menudo,
Roger Whittaker, Larry
Boone, Lacy J. Dalton
George Strait, Scott
Mc Quaig, Bo Tomlyn
Joe Barnhill, Wayne
American Wolf, James
Taylor, Paul Overstreet
Larry Gatlin, The Gatlin
Brothers, Gail Davies
Glenn Campbell, Marcy
Brothers, Tim Malchak
Fleetwood Mac, Shadowfax
Charlie Daniels Band,
10,000 Maniacs, Cure
COMPANIES USING B.A.S.E.
OUR MAILING LIST TO BE NOTIFIED WHEN THE NEW
B.A.S.E. UNITS WILL BE AVAILALBE AGAIN!