Rapid Flow Unleashes the SPL BiG: Mono-Safe Mayhem for Your Synths

The SPL BiG 500 series module isn’t just another stereo widener—it’s a psychoacoustic processor designed to make your synths explode sideways without turning your mono mix into a phasey mess. Erik from Rapid Flow wastes no time: he’s running a Waldorf Iridium through the BiG, showing how it can push a signal so wide it barely fits in your headphones. The real kicker? It keeps the mid/mono signal rock solid, so your club system doesn’t collapse into mush.

Most stereo tools are notorious for mangling mono compatibility, but the BiG seems to dodge that bullet. Erik’s spectrum and goniometer tests prove the point: the stereo image gets huge, but the centre stays untouched. If you’re tired of sacrificing punch for width, this box might just be the street weapon you’ve been waiting for.

It’s one thing to talk up a piece of gear, but Rapid Flow puts the BiG straight into the mix. Running synths through lush Eventide DSP4000 reverbs and high-end Prism Orpheus converters, Erik demonstrates how the BiG can make even expensive hardware sound bigger, wider, and more alive. The difference is night and day—suddenly, those pads and leads jump out of the speakers without losing their punch.

This isn’t just studio trickery. Erik’s workflow shows how the BiG can be a secret weapon for electronic producers who want their tracks to hit harder in the club or on streaming platforms. If you want to hear just how dramatic the transformation is, you’ll need to catch the video—words barely do it justice.

The BiG keeps it simple: a stage knob for front-to-back movement, a range control for high/open settings, a hidden bass switch, and the all-important bigness dial. Erik loves the minimalism—no endless menus, just instant results. The controls interact in unpredictable ways, making the BiG feel more like an instrument than a mere effect.

Under the hood, it’s all psychoacoustics—shifting the stereo image, boosting presence, and somehow keeping the mono centre untouched. There’s a bit of black magic here, and even seasoned engineers like Erik admit it’s not supposed to be possible. If you want to see exactly how these controls twist your sound, the video’s knob-tweaking moments are essential viewing.