@Sj- re: the high-end boost,i have no idea dB-wise. it's generally both "nice" and "sweet." if something goes into it already sounding good, it'll come out with a bit of sheen on it. Definitely can help background vocals stand up to a super-bright lead vocal. It won't be the thing that saves a poorly-recorded vocal, but it can be part of the chain that helps.
(i like the LA2A on background vocals, clearly)
you have that control whether or not it's compressing. To my ears, it sounds like it can do more high-end boost if it's compressing more. I very well may be imagining that, but it sounds good regardless.
fragments wrote:Sharm. Final verdict. You think owing a rack version of an Aphex Exciter is worth it over say the Waves software version? The SOS article on the 204 seems positive w/o seeming like a fluff article...and they are very not expensive units ;p
Sounds like a really cool character box.
the aphex one that Waves has modeled is the old school, vu version which will run you 4 digits for the hardware model. the plug is,what, like $150? it's cool but it's a one trick pony. you set it and it either is what you need it to be... or you find something else. again, exciter plugs are most useful for me on a send, so that i can just add general brightness to sounds.
the 204 is sweepable in both the highs and the lows-- not stereo-linked, but, shit, you've got 2 hands. make 'em work together
... if you were going for accuracy above all you wouldn't be using an exciter.
I do think it's an extremely useful tool-- sure it can add more bass and sub to things that are supposed to be bassy and subby (or highs to things that are supposed to be crisp and bright), but its even more useful as a resuscitation device for things that just need to sound better in general. You usually can't EQ in energy that isn't already there in a sound-- with this, and similar tools, you can kinda/sorta create that energy.
I use it more on stem elements in mixes than in production (entertainingly enough, i use my Orban EQ's more for production than mixing... go figure). It's not the kind of thing i'd have the patience to calibrate and set up for each mix session, so it generally is part of the chain as i'm getting together sounds at the beginning of a mix-- something gets printed through it, and goes back into the session.
if your monitoring situation is sorted, yet you're always at a point where your looking at your favorite sounds in a mix and just can't get them bright or thick enough-- the aphex can help.
and it's cheap!
