{"id":3912,"date":"2024-06-29T07:51:13","date_gmt":"2024-06-28T23:51:13","guid":{"rendered":"https:\/\/www.zyneng.com\/?p=3912"},"modified":"2024-06-29T07:51:13","modified_gmt":"2024-06-28T23:51:13","slug":"bedini-b-a-s-e","status":"publish","type":"post","link":"https:\/\/www.zyneng.com\/?p=3912","title":{"rendered":"BEDINI B.A.S.E."},"content":{"rendered":"
\n

Bedini Audio Spatial Environment<\/span><\/span><\/b><\/span><\/p>\n

\"\"<\/a><\/div>\n

BEDINI AUDIO SPATIAL ENVIRONMENT<\/b><\/span><\/p>\n

The B.A.S.E Processor allows you to hear more of the ambient acoustics that were present during the actual recording.<\/span><\/p>\n

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.<\/span><\/p>\n

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 the effect.<\/span><\/p>\n

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.<\/span><\/p>\n

The B.A.S.E. process is compatible with Dolby, Dolby Surround, DBX, Etc.<\/span><\/p>\n

The B.A.S.E. process can be applied to recordings, films, live broadcasts, concerts, and theatres.<\/span><\/p>\n

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.<\/span><\/p>\n

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.<\/span><\/p>\n

B.A.S.E. represents one of the first entries of a new breed-an upcoming revolution in signal processing.<\/span><\/p>\n

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.”<\/span><\/p>\n

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.<\/span><\/p>\n

What do the Pros say about radio broadcasts?<\/b><\/span><\/p>\n

“It makes normal stereo sound like mono.<\/i>”\u00a0Trevor Wyatt A&R manager Island Life<\/b><\/span><\/p>\n

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.<\/span><\/p>\n

“It makes the other stations sound flat.<\/i>”\u00a0Steve Jackson, Broadcaster KISS 100 FM<\/b><\/span><\/p>\n

“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.<\/i>”\u00a0Andy Howard, Chief engineer KISS 100 FM<\/b><\/span><\/p>\n

Will B.A.S.E. be compatible with my broadcast application?<\/span><\/p>\n

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.<\/span><\/p>\n

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.<\/span><\/p>\n

Will B.A.S.E. be compatible with my system?<\/span><\/p>\n

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.<\/span><\/p>\n

“The 3D sound effects are brilliant, cavernous collages of primary colour.<\/i>”\u00a0Altern-8 review of Orbitals Mutations EP NME 93<\/b><\/span><\/p>\n

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.<\/span><\/p>\n

How do they do that?<\/span><\/p>\n

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.<\/span><\/p>\n

“The system really has to be heard to appreciate the 3D effects its able to create.<\/i>”\u00a0Phil Earle, Label Manager Law & Auder records<\/b><\/span><\/p>\n

STUDIOS BOOKING B.A.S.E.<\/b><\/span><\/p>\n

C.T.S. Studios * XOR Cutting Rooms * Roundways Studio *<\/span><\/p>\n

Whitfield Street Studio * Masterpiece<\/span><\/p>\n

CD RELEASES RECORDED IN B.A.S.E.<\/b><\/span><\/p>\n

Deeper Shade of Hooj various\/Red Jerry Hooj 98<\/span><\/p>\n

Fusion Sven Vath Virgin 98<\/span><\/p>\n

Female of the Species various\/Phil Earle Law&Auder 99<\/span><\/p>\n

Ibiza Anthems Pete Tong\/Judge Jools Ministry 98<\/span><\/p>\n

Interdimensional Hunab Ku Well Wicked 99<\/span><\/p>\n

Cincinattis Burnin’ Shylo 20th Century Soul 99<\/span><\/p>\n

B.A.S.E. UNITS IN USE<\/span><\/b><\/p>\n

Big Oak Productions, Mr Mike Boles<\/span><\/p>\n

Digital Magnetics, Mr. Bruce Botnick<\/span><\/p>\n

Electronic Melody Studio, Mr. Allan Howarth<\/span><\/p>\n

Georgetown Mastering, Mr. Denny Purcell<\/span><\/p>\n

Masterfonics, Mr. Glenn Meadows<\/span><\/p>\n

The Complex, Mr. Greg Ladanyi<\/span><\/p>\n

Wonderland Studio, Mr. Peter Vargor<\/span><\/p>\n

E.F.X. Systems, Mr.Pat Griffith<\/span><\/p>\n

Precision Lacquer, Mr. Stephen Marcussen<\/span><\/p>\n

MCA\/Whitney, Mr. Gene Wooley<\/span><\/p>\n

W.O.K.K. Radio, Mr. Ken Rainey<\/span><\/p>\n

Universal Records, Mr. Jimmy Bowen<\/span><\/p>\n

Sound Stage Studios, Mr. James Stroud<\/span><\/p>\n

Chameleon Recording, Mr. Charles W. Fetyko<\/span><\/p>\n

FILMS<\/span><\/b><\/p>\n

THEY LIVE<\/span><\/p>\n

HALLOWEEN “4”<\/span><\/p>\n

HALLOWEEN “5”<\/span><\/p>\n

HUNT FOR RED OCTOBER<\/span><\/p>\n

PRESUMED INNOCENT<\/span><\/p>\n

BACK TO THE FUTURE 2<\/span><\/p>\n

Disney’s LITTLE MERMAID<\/span><\/p>\n

STAR TREK V “The Final Frontier”<\/span><\/p>\n

MGM\/UA Home Viedo used B.A.S.E. processingon on Rolling Stone Magazine “20 YEARS OF ROCK’N’ROLL”<\/span><\/p>\n

MTV videos for Jackson Browne<\/span><\/p>\n

INXS and Def Leppard feature B.A.S.E. on their videos and laser discs as well<\/span><\/p>\n

LIVE PERFORMANCES<\/b><\/span><\/p>\n

“A STAR SALUTE TO LIVE MUSIC” at the Riviera Hotel in Las Vegas.<\/span><\/p>\n

Frank Sinatra, Milton Berle and the Mills Brothers were among the performers at the show, which also featured a 45-piece orchestra.<\/span><\/p>\n

ARTISTS WHO USED B.A.S.E. PROCESSING<\/span><\/p>\n

Waylon Jennings, Charley Mc Clain, Rose Carter<\/span><\/p>\n

Steve Wariner, Menudo, Karen Staley<\/span><\/p>\n

Roger Whittaker, Larry Boone, Lacy J. Dalton<\/span><\/p>\n

George Strait, Scott Mc Quaig, Bo Tomlyn<\/span><\/p>\n

Joe Barnhill, Wayne Massey, Biloxi<\/span><\/p>\n

American Wolf, James Taylor, Paul Overstreet<\/span><\/p>\n

Larry Gatlin, The Gatlin Brothers, Gail Davies<\/span><\/p>\n

Glenn Campbell, Marcy Brothers, Tim Malchak<\/span><\/p>\n

Fleetwood Mac, Shadowfax<\/span><\/p>\n

Charlie Daniels Band, 10,000 Maniacs, Cure<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Bedini Audio Spatial Environment BEDINI AUDIO SPATIAL ENVIRONMENT 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 …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-3912","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-bedini","7":"anons"},"_links":{"self":[{"href":"https:\/\/www.zyneng.com\/index.php?rest_route=\/wp\/v2\/posts\/3912","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.zyneng.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.zyneng.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.zyneng.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.zyneng.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3912"}],"version-history":[{"count":1,"href":"https:\/\/www.zyneng.com\/index.php?rest_route=\/wp\/v2\/posts\/3912\/revisions"}],"predecessor-version":[{"id":3914,"href":"https:\/\/www.zyneng.com\/index.php?rest_route=\/wp\/v2\/posts\/3912\/revisions\/3914"}],"wp:attachment":[{"href":"https:\/\/www.zyneng.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3912"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.zyneng.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3912"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.zyneng.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3912"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}