AKG BX-10E2

AKG BX-10E2 Stereo Spring Reverb

The AKG BX-10E2 is an enhanced version of the BX-10E, featuring a redesigned Torsional Transmission Line (TTL) system and improved equalisation for smoother, more natural reverberation. It uses a series of springs to create accurate reverb without including any dry input signal. This compact, high-performance unit is a reference standard for studio applications and is only outperformed by the larger BX-20E.

AKG BX-10E2 Stereo Spring Reverb Details

The AKG BX-10E2 is a refined evolution of the original BX-10E two-channel reverberation unit. It offers a noticeably smoother and cleaner sound than its predecessor, utilising a redesigned Torsional Transmission Line (TTL) system along with newly developed equalisation in its TTL electronics.

This patented TTL system provides precise and natural reverberation characteristics by employing a series of springs with transmission properties governed by statistical variations. Uniquely, the TTL system is the only reverb unit – including live chambers – that excludes the dry input signal from its output.

This makes the BX-10E2 a benchmark for compact, high-quality reverbs, delivering portability alongside professional-grade performance for critical studio applications. Its only rival is AKG’s larger BX-20E, making the BX-10E2 unrivalled in its class.

The AKG BX-10E2 offers many important features for superior performance in a quality portable reverberation unit:

  • Uses Torsional Transmission Line principal
  • High density of resonant frequencies
  • High pulse density to duplicate the many sound paths of a naturally reverberant environment
  • High degree of statistical diffusion in both frequency and time domains
  • Linear frequency response for maximum range of applications
  • Precise duplication of natural room-reverberation effects
  • Genuine two-channel design. Either channel can be used and controlled separately (channel separation > 35 dB)
  • Switchable to composite mono drive (inputs 1+2) of reverb channels; dry channels are independent at all times
  • Adjustable input sensitivity
  • Built-in limiters (one per channel) to prevent over-driving of TTL systems
  • Built-in low- and high-frequency shelving equalisation for each reverb channel
  • Built-in reverb/dry signal mixing
  • No acoustic feedback… even when placed close to monitor loudspeakers
  • No special mounting or isolation is required for installation
  • Ideally suited for van or mobile studio operation. Lightweight (only 47 lbs)
  • No locking or readjustments necessary for transportation
  • No periodic maintenance, adjustments, or “tuning”
  • Small space requirements (12″ H x 17.5″ W x 19.4″ D)
  • RM-10 19″ rack mount available (and shown below)

 

The AKG BX-10E2 provides independent decay-time adjustment, reverb high- and low-frequency equalisation, and reverb/dry signal mixing for each channel. Both channels are electronically and acoustically separate.

Decay time is adjusted through mechanical feedback. Reverberation/dry signal mixing eliminates the need of a “reverb return” mixing section in the mixing console. The AKG BX-10E2’s unique two-point suspension makes it impervious to acoustic feedback and mechanical vibration.

AKG BX-10E2-Short: For speech and some music applications requiring shorter reverb decay times, AKG offers a special version of the AKG BX-10E2. Known as the BX-10E2-Short, this specially modified unit provides switch-selectable decay times of 1, 2, and 3 seconds for improved articulation and intelligibility. The BX-10E2-Short has already gained almost instant recognition by major radio stations throughout the U.S. and is equally at home in film and videotape studios.

AKG BX-10E2

 

AKG BX-10E2 Stereo Spring Reverb, rackmount version which is ultra rare and very rare to see for sale.

Specifications

  • Number of Channels: Two
  • Nominal Input Level: -22, -6, +6, and +12 dBm (independently and internally switchable for each channel)
  • Maximum Permissible Input Level: 18 dB above selected nominal input level, each channel
  • Input Impedance: > 2000 ohms, balanced, each channel (stereo or mono operation)
  • Dry/Reverb Output Mix: Each channel independently and continuously adjustable for any dry/reverb output ratio ranging from pure dry signal to pure reverb signal only
  • Output Level, Frequency Response, Total Harmonic Distortion, Crosstalk Rejection, Signal/Noise Ratio: These data differ between dry-signal-only and reverb-signal-only output modes; see various entries under appropriate output data headings below
  • Output Impedance: < 100 ohms, balanced, each channel
  • Recommended Load Impedance: > 200 ohms each channel
  • Maximum Permissible Operating Angle of Inclination (measured at housing): < 8 degrees
  • Power Supply: 120/220 volts AC ±15, -10% (internally switchable) 40-60 Hz
  • Power Consumption: 12 VA
  • External Dimensions: 305 mm (H) x 445 mm (W) x 492 mm (D)
  • Net Weight: Approx. 21.3 kg

 

Dry-Signal-Only Output Data
(Reverb mix controls in both channels turned fully dry for pure dry-signal outputs)

  • Nominal Output Level: +3 dBm (±3 dB) each channel
  • Max. Continuous Sine-Wave Output: +8 dBm each channel
  • Frequency Response: ±1 dB 50–20,000 Hz, -3 dB at 30 Hz
  • Total Harmonic Distortion (load > 200 ohms per channel):
    • At selected input level:
      • < 0.5% at 40 Hz
      • < 0.2% at 1000 Hz
      • < 0.25% at 5000 Hz
  • Crosstalk Rejection Between Channels: > 70 dB
  • Signal/Noise Ratio at Nominal Output Level (per DIN 45 405):
    • Weighted: > 75 dB rms
    • Unweighted: > 75 dB rms

 

Reverb-Signal-Only Output Data
(Reverb mix controls in both channels turned fully wet for pure reverb-signal outputs)

  • Reverb Decay Time (measured with 1/3-octave pink noise centred at 500 Hz): Each channel independently switchable to 1.5, 2.5, and 3.5 seconds
  • Maximum Output Level: Associated equipment requires up to +24 dBm input headroom per channel to accommodate instantaneous peaks in reverb signal
  • Level Difference Between Channels: < 2 dB (same decay time, both channels)
  • Frequency Range: 20–12,000 Hz
  • Frequency Response: 50–8000 Hz within tolerance band of ±6 dB from design-centre curve with pink noise at input, and with output measured through ⅕-octave filter
  • Bass Control Range: ±8 dB shelving at 150 Hz (independently and continuously adjustable for each channel)
  • Treble Control Range: ±8 dB shelving at 5000 Hz (independently and continuously adjustable for each channel)
  • Crosstalk Rejection Between Channels: ≥ 35 dB (per DIN 45 505)
  • Signal/Noise Ratio at Nominal Output Level (bass and treble controls at “flat” or “0” settings, DIN 45 405):
    • Weighted: > 65 dB rms
    • Unweighted: > 60 dB rms
  • Acoustic Feedback Isolation: ≥ 100 dB, i.e., sound level in close proximity to unit may be up to 100 dB SPL before acoustic feedback occurs
  • Elastic-Suspension Resonant Frequency: < 10 Hz

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The details provided above are drawn from historical documents like advertising brochures or user manuals. They’re shared without bias or review. This info is given solely for your consideration, helping you gauge its usefulness to you.

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