Specifications

Chapter 3: Using the Aural Exciter 13
The Level, Tune, Peaking, Null Fill, Harmonics,
Timbre and Mix faders provide separate left and
right faders when in stereo. For stereo, a separate
set of switches for independent control of the
left and right channels is provided for Ax, Solo,
SPR, Bypass, Drive and Density.
The Tune fader adjusts the corner frequency of
the high pass filter and the Mix fader varies the
amount of Aural Exciter enhancement that is
mixed with the unmodified signal.
Experiment with the Aural Exciter faders and
switches to hear how each one enhances the
original audio signal.
To experiment with Aural Exciter:
1 Set the Level fader on Max.
2 Set the Drive switch to reflect the current
nominal level.
3 Make sure the Bypass switch is deactivated
(Bypass light off).
4 Make sure the Ax switch is activated (Ax light
on).
5 Set Density to Normal. (Density light off). As
you make the following adjustments, alternate
the Density switch between Normal and High to
hear the change in the Aural Exciter effect.
6 Put the Aural Exciter Mix fader on Max, mak-
ing it easier to hear the effect as it changes.
7 Vary the Tune fader and listen for the fre-
quency range that is being enhanced. The Tune
fader can be used to enhance a particular instru-
ment so it stands out in the mix.
8 Adjust the Harmonics fader and listen for the
change in harmonics being added to the origi-
nal audio signal.
9 When finished experimenting, set the Mix
control to taste. Keep in mind that a little Aural
Exciter goes a long way.
Using the Tune Fader
After a while you’ll get a sense of where you like
your Tune setting when using the Aural Exciter
on individual tracks. It’s best not to process the
same range of frequencies with the Tune fader
during the final mix. If you already processed in-
dividual tracks with Aural Exciter, try starting
the final mix with the Tune fader in the maxi-
mum position which is approximately 7 kHz.
You should get a spacious, three-dimensional
mix with an open “airy” quality.
Using the SPR Switch
The SPR function can produce a useful effect
with solo voices (human and instrumental) or
mixed programs (such as drama and music).
There is no specific time when SPR should or
shouldn’t be used. Experiment with it on vari-
ous types of material until you get used to the ef-
fect. Listen carefully as you operate the SPR
switch. The effect may be noticed only at certain
times (such as specific modulations of a voice or
during a particular instrumental playing style or
passage). Don't expect to hear the sound change
radically. The SPR is usually subtle, adding a cer-
tain beauty and good feeling to the sound. In
time you will find that the SPR does indeed pro-
duce demonstrable results. For instance, the SPR
effect can:
• Drop pitch of ultra low bass
• Increase apparent bass power
• Unmask instruments or sonic details hid-
den in the mix
• Improve definition of high frequency
sounds (such as on cymbals and bells)
• Improve speech articulation and presence
• Increase depth and clarity of male voices