Aphex’s newly-patented “Transient Discriminate Harmonics Generator” circuit discriminates between parts of the audio signal that would benefit from enhancement ( i.e. It’s the corner (cutoff) frequency of a highpass filter that feeds the circuit, so the lower it’s set, the more midrange harmonics will be generated, in addition to high-frequency ones, adding more mid presence at higher settings, the effect will be concentrated mostly in the upper range, for more air and subtle sheen. The Frequency knob allows you to fine-tune the range where the harmonics are generated. But remember, with both the Amount & Harmonics controls, a little goes a long way-too much of the effect can get harsh and edgy-subtlety is the order of the day. For individual instruments, especially percussive ones, you could then advance the knob to taste. The minimum position of the Harmonics knob is not off, it’s the “normal” setting for subtle enhancement, like you might want for acoustic sounds like voices, and complex signals like a full mix. The Harmonics and Frequency knobs let you set the degree and range of the generated harmonics, respectively. I’m So Excited (S orry).īesides setting the amount of enhancement you add in to the original signal with the Amount knob, you can fine-tune the Exciter effect as well. Each channel’s two effects can be used in tandem, or separately, by reducing the Amount to minimum for the effect not in use. But if you hook up either channel in a Send & Return configuration, then you’d want to turn the Amount controls all the way up, for processed signal only, and set the balance with the console’s (or DAW’s) Send controls. Normally, you’d insert the Exciter inline, and dial up the ideal blend, or balance of effect against original signal with each Amount knob.
The Aphex Exciter’s front panel controls.Īmount, in both cases, is a mix control-all the way left is the original (dry) signal only, all the way right is the processed signal only. Likewise, Big Bottom also blends its processed output lightly in with the original signal-in this case, an optical compressor is calibrated to dynamically enhance the low end, again, without the concurrent potential tubbiness and big level boost you’d get with EQ. A little of this is blended in with the original signal, for a subtle increase in presence and clarity. The Exciter circuit works via a combination of phase manipulation and controlled harmonic generation, making it capable of adding sparkle even to signals lacking in highs (remember, EQ can’t boost what ain’t there). Unlike EQ, the Aphex processes won’t add level to the signal. This year’s model combines the patented Aphex Exciter processing, which adds brightness and clarity to the highs, with Big Bottom, which adds punch and fatness to the lows.
The two processes complement each other, and even with all the virtual processing options around (including other exciters and similar tools), this hardware Exciter is still popular in studios, broadcast facilities, clubs, live DJ & concert venues, and churches, where it enhances music with subtle sparkle and oomph, and helps dialog with increased clarity and intelligibility. and the current Aphex Exciter (including Big Bottom).Ĭut to the present-the Aphex Exciter model on review here is the current incarnation of that device, coupled with another Aphex processor, Big Bottom, which enhances the low end.