Since its introduction in 1975, the Aphex Aural Exciter, has rapidly become a standard in the recording and broadcast
industries. It has been used on thousands of albums, movies, broadcast productions, commercials and concerts.
Aphex Aural Exciters are also on the air on the top AM & FM stations throughout the U.S.A. and the rest of the world.

Whatever the application, you will find the following results
from your Aphex Type C Aural Exciter.
• Increased presence and clarity — Program material sounds bright and real again.
• Increased intelligibility — Vocal articulation is much cleaner. easier to hear and understand.
• Enhanced stereo imaging — The sound seems to "open up," giving greater separation and detail making speaker
placement less critical, while still being totally mono compatible.
• Greater perceived loudness — without adding any extra power. Does not trigger limiters or compressors.
• Reduced listener fatigue — Increased penetration at lower SPL and distortion levels.
• No decoding needed Aural Excitement is a single ended process. Once it is encoded into the material it stays, even
through succeeding processes and generations of tape copies.


By now you are probably wondering how the Aural Exciter can do all these things and why it has become necessary in the first place. The answer is that the audio recording and reproduction process is far from perfect. Every step of the way, from the original microphone, through countless mixes, amplifiers, processors, tape machines and the final loud-speaker, something gets lost. What gets lost each time is realism. And you know it's happening because things just don't sound live anymore. What's missing are the tiny, fragile parts of any sound which give it its character and allow it to be differentiated from other sounds. Other conventional types of processors, such as equalizers, expanders and reverb or echo fail to restore this realism because they only work on
what's left of the original signal, often increasing noise and distortion in the process. The patented method used in the Aural Exciter actually recreates this missing information and adds it back in to produce a psychoacoustic cue signal that is perceived in the subconscious part of the brain. Because of this, the added signal can be so small that it adds virtually no power to the signal, is easily reproduced, even by low qual-
ity systems, and is not affected by normal acoustic problems.
These factors make the Aphex Aural Exciter a powerful tool in any studio application.




This is the model from 1985



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