8/6/2019 Aphex 204 Eq Review

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When Aphex first released their Aural Exciter,

over 25 years ago, it was the stuff of legend.You couldnt even buy one; you had to rent itby the minute, no less. Many engineers wereso enchanted with this new form of audiovoodoo that they often kept it discreetly out ofsight, invoking it surreptitiously when a bit ofmagic was needed. But it wasnt a gimmick ora sound du-jour. The Aphex Aural Exciter reallyworked, and deservedly won immortality whenit was used to mix classic albums by Linda Ron-stadt, James Taylor, and Jackson Browne. It hasstood the test of time, too. Smart producershave been using it ever since, and really smart

producers have been keeping quiet about it.Now the Aphex Aural Exciter is well-knownand available to everyone, and, at a list pricefor less than $400, how could you afford notto own one? You cant. After more than 25years doing just one thing - making mixessparkle and tightening up the low end - theAural Exciter is still doing what it did in 1975,but with improved circuitry, better sound, andmany more musical opportunities to use it. Ifyoure a sound designer seeking to improveintelligibility in vocals, if you need to tightenup, focus, or better pronounce your low endwithout increasing the level (something EQs

cant do), or if you want to add sparkle to adull mix, the Aphex Aural Exciter 204 demandsserious consideration. It will not only save amix or two, it might earn you the title of Sor-cerer of Sweetening or the Magician of Mix-clowns.

OVERVIEWThe 204 is a dual-channel balanced processorwith a thick, brushed-chrome faceplate, sturdyhousing, and solid-feeling controls. The 204actually sports two functions: the original AuralExciter harmonics generator and the equally

useful Big Bottom low-end-enhancing system.The originally named Big Bottom - the pat-ented circuitry for adding low-end densitywithout increasing the dB count - has becomeOptical Big Bottom in this incarnation, owingto an optical coupler in its works. But the basicoperation and sound-processing architectureremain the same. So if youre already familiarwith the Aural

Exciter line, this is just mo better.The 204s two channels are completely inde-

pendent. In addition to providing 1/4-inch TRSand XLR jacks for both ins and outs, the backpanel offers twin operating-level switches (-10dBV, +4 dBu) - one per channel. Since theresno stereo link function, you could conceiv-ably run two mono sources through the 204,one using, say, balanced 1/4-inch jacks at -10dBV and another signal on the XLR jacks at+4 dBu. In practice, this doesnt come up verymuch, because the 204 is best suited to treat-ing entire mixes - which invariably come instereo. But its nice to know you have twocompletely independent channels with theirown level switches, all the same. For stereoprocessing, as long as you have the controlsset for subtle usage, you shouldnt experienceany imaging problems between the left andright channels. To have the two channels talk

to each other would have required some extracircuitry - a DAC, DC voltage to track the pots,or some other solution which would certainlyhave driven up the price. In careful listening,I found no phase coherence or imaging prob-lems.

On the front panel, each channel has sixcontrols: three for Big Bottom (Drive, Tune,and

By Jon Chappell jchappell@musicplayer.com

The magiccontinues

in this dual-channel,balanced

version of aclassic

processor

IN REVIEW

Aphex 204Aural Exciter and Big Bottom

APHEX 204

MANUFACTURER: Aphex Systems Ltd., 11068Randall St., Sun Valley, CA 91352, Tel: 818-767-2929. Web: www.aphex.com.

SUMMARY: Imperative for audio restoration, andfor brightening a mix and bolstering bass; a rivalapproach to any EQ or compressor.

STRENGTHS: Great sound. Inexpensive. Solidlybuilt. Balanced I/O. Processing doesnt compro-mise headroom.

WEAKNESSES: No headphone or footswitch jack.

PRICE: $399

EQ FREE LIT. #: 121

DECEMBER 2001 | EQ

8/6/2019 Aphex 204 Eq Review

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By Jon Chappell * jchappell@musicplayer.comIN REVIEW

Mix) and three for Aural Exciter (Tune, Har-monics, and Mix). Those who remember thevenerable 104, a.k.a. Type C2, will noticethat Girth and Overhang are gone,replaced by more serious-named controls.Two other improvements over the 104 areseparate bypass switches for each channel

(previously, you could only bring both chan-nels in and out of bypass simultaneouslywith a single switch) and the addition of atunable high-harmonics control instead of asingle, fixed switch. Last but not least, itsgot a built-in power supply, another touchof professionalism over the 104s wall-wartsolution.

DEFINING THE DOUBLE-ENTENDRESBefore we set up and start dialing away,its good to know what we can expectfrom a unit that doesnt fit comfortably into

the orthodoxy of staple processors such asgates, compressors, EQs, and time-basedeffects. The Aphex Aural Exciter re-createsand restores missing harmonics to a signal.Unlike an EQ, which can only increase thepresence of existing frequencies throughselective application of gain, the Aural Exciteris amplitude neutral. It will not increasethe actual loudness, only the perception ofloudness. The result is an increased bright-ness, clarity, and presence. It will not addharmonics to material with no inherent har-monic content (like sinusoidal signals), soyou dont have to worry about distortion.

Although its not an EQ or a compressor,the 204 shares properties with those effectsand is ideally used in like fashion. For exam-ple, its best to run the 204 inline, like adynamics processor, rather than in a send-and-return configuration, where youd mixthe effected signal in with the original. Youcan of course, run the 204 on the insertpoints of the stereo bus as well.

The process also features the patentedTransient Discriminate Harmonics Genera-tor, which means it can supply missing har-monics in a transient, lending intelligibility(consonants, by definition, have a leading-

edge transient), and fill out the amplitudeenvelope of a signal without changing itsshape (in other words, without increasingthe gain). This should raise the eyebrowsof anyone in broadcast, where levels aretightly regulated, and optimizing definitionand clarity in program material is a constantpursuit.

DIALING IN EXCITEMENTSetting up the 204 couldnt be simpler:Plug your mixers left and right outputsinto the 204s back-panel inputs, and then

plug the 204s outputs into your mixdownrecorder or monitor system. As mentioned,you could always hook up the 204 throughyour mixers stereo inserts. If you decideto track with it (which is reasonable ifyoure recording, say, vocals with a badmic), simply hook it through a channels

insert point.The manual recommends you use the

three controls on the Big Bottom and theAural Exciter circuitry to tune by ear. Thoughthe manual details the frequency rangesyoure operating in, providing you withsome clue, you really find your sound simplyby tweaking the knobs. Except for referringto the knobs ranges (which are not on thefaceplate), I never had to use the manual.Operation is straightforward and simple.

IN USEI discovered that it was better to tackle any

bass issues before turning my attentions tothe Aural Exciter portion of the 204. Forreally exposed, well-recorded music (like anacoustic trio of steel-string guitar, doublebass, and hand percussion), a little bassmanagement was all that was needed. Afteryouve wrangled the low end (if necessary),you can turn to the Aural Exciters controls,which are Drive, Tune, and Mix. Even whenmaxing out any single control, I still foundthe results musical. It was only on an A/Bcomparison that I found the cranked knobstrategy too much, but this was on rela-tively healthy mixes. In subtler applications,

mixes came alive, hidden midrange material- like a stereoprocessed rhythm guitar thatId never heard before - came to the fore-front.

I was most impressed with the 204 onprogram material that was otherwise suf-fering from a deficiency. For example, ona rhythm track where the acoustic basswas unpredictable - loud on the low notesand too soft on the upper notes - the 204evened out the bass, brought it forward inthe mix (where it had been buried before),and tightened it up in the lowest regions. Inother words, it made all the right moves.

On the Aural Exciter side, it increased thesparkle of reels of 7.5-inch tape that hadsuffered from age and not-so-great analogtechnology to begin with. The 204 gave methe perfect excuse to dust off the old Revox,load up the reels, and transfer this musicallyviable but sonically dubious material onceand for all to hard disk.

One benefit of the 204 that might notbe obvious is that you can use it on back-ground material instead of just sizzling upforeground tracks. Because the Aural Excitergenerally tightens up a mix - filling out the

midrange, propping up and evening outbass response, vitalizing the treble content- its no longer necessary to keep going tothe backing tracks to fix your mix. By leav-ing the levels alone and simply enhancingdefinition, you enjoy increased dimension-ality in your music - instruments retain their

own sense of space, and each component isdistinguishable.

CONCLUSIONSIf youre a sound designer or mixing engi-neer who works in the real world, anddeals with real-world problems, the recom-mendation is easy: Go get an Aphex AuralExciter 204 - today. The 204s benefits foraudio restoration are numerous, and its tal-ents prodigious in this regard. Bass tighten-ing, presence boosting, vocal intelligibility,and dull-to-bright conversions are all hall-marks of the 204. The newer, improved,

and more-professional 204 should find itsway into your short rack, especially if a widevariety of mixdown material crosses yourconsole.

If youre dealing with newer music,recorded well and in high-resolution digitalaudio, the benefits might not seem so obvi-ous, but here the 204 works well, too.Often, I simply went to the 204 first, beforeengaging in a complex chess game of EQ,especially with regard to undefined bassand muddy mids. Since the 204 is dynamic(program dependent), it will ride yoursignal, where an EQ is static. I found it

transparent in this regard, and A/B compar-isons throughout the mix always had mefavoring the 204 processed signal.

The manual is excellent, too thoughtful,well written, and supplied with plenty ofreal-world uses for the Big Bottom andAural Exciter circuitry. Its rich with graphsand frequency charts, so that you know

just how the circuitry is acting on your pro-gram material. The manual also devotes aninordinate, but welcome, amount of spaceto explaining balanced versus unbalancedlines, and how to rewire cable connectors.Bravo.

Detractors in the past may have takenissue with the candy coated aspects offormer incarnations of the Aural Exciter, butwith the 204, those criticisms are inappli-cable. The 204 is inexpensive, magical, andmusical. And it stands alone as a uniqueapproach to signal processing.

Jon Chappells latest book is Rock Guitar forDummies (Hungry Minds), which includes aCD that he recorded using only techniqueshe learned from the Pages of EQ.

DECEMBER 2001 | EQ