APHEX Guitar Xciter Aural Exciter Model 1403 Effects Pedal RED USED Condition Description: No testing has been done. Good cosmetic condition considering age/use. See photos for more information. Please note that due to high shipping costs, we do not ship equipment outside of the continental United States. All equipment is sold with the intention of being for parts or to be professionally restored. We DO NOT guarantee equipment turns on or is in working order. If the equipment powers on, we will note that in the title or description. We will NOT test the equipment for you. We suggest all equipment be tested professionally before use. ABSOLUTELY NO RETURNS. Sold As-Is. No returns. Sorry, no international sales. SHIPPING INFORMATION PLEASE READ!!! Sorry we do not ship internationally. We ship on weekdays, Monday through Friday. We do not ship on weekends or holidays. Also, we usually do not answer any messages over the weekend. Please note that any messages received on the weekend will be answered at the beginning of the next week. We require 3 business days to get items shipped. For local pick up orders, please note that we do not process orders on the weekend. During weekdays, we require 3 business days after winning/purchasing your item for us to get it ready for pickup. We expect payment within 7 days of winning. After that time we do file an unpaid item request through eBay. PLEASE NOTE, once the shipping label has been created, eBay will automatically post the tracking information. Stereo equipment invoices cannot be combined. They can only be shipped individually.

Mid 80s analogue aural exciter, works, pots a bit crackly but probably just needs a clean Collection from Lymm, near Warrington or postage at buyers expense. Review from 1980s magazine... Aurally exciting Its a well noted phenomenon within psychoacoustics that the addition of high frequency equalisation to an existing mix will very often make it sound better. It brings out details and adds air to everything providing extra presence and brilliance. When copying from an analogue source to a Sony PCM 1610 digital, for instance, people often comment that the copy actually sounds better than the original. This can be largely attributed to the slight boost the process gives to the programme around the 5-6kHz region. Also, when making cassette copies of 14 masters, adding a little HF to the copy will often have the client remarking that the cassette offers the superior sound. Unfortunately the impact of the effect wears off and it is easy to end up with harsh, brittle mixes. Scintillation Eq plus The Scintillator is based on the concept of the Aphex Aural Exciter. It was designed to increase the high frequency content of programme fed through it by the generation of upper harmonics, thereby bringing out lost detail. On entering the Scintillator your dull, lifeless sound is sent along two paths: one simply goes straight through to the output via a couple of line amps while the other is a side chain consisting of a high-pass filter (ie only high frequencies are allowed to pass) the output of which feeds into the harmonic generator. This is another name for a distortion box. It basically adds a degree of even harmonic distortion to the sound, by an amount inversely proportional to the level of the high frequency component fed into it. In this way it is effectively applying high frequency compression, thus increasing the apparent presence of low level, high frequency details and bringing out lost details as if by magic. The term distortion is a little misleading as all equalisation is actually distortion in that it changes or distorts the form of the original signal. Any sound that has a discernible pitch can be seen to consist of a complex combination of a fundamental frequency and a series of that frequencys odd and even harmonics. Equalisation simply increases the level of selected bands of harmonics, whereas the Scintillator actually generates extra upper harmonics even where none previously existed. This is important because you may be dealing with a sound that is severely impoverished in that area, and adding sufficient HF gain to bring it out will also bring up untold amounts of unwanted hiss. I was told that the Scintillator doesnt increase the hiss level to the same degree as straight Eq, although in my experience there isnt a great deal in it. What disturbs me about this form of psychoacoustic enhancement is that an assumption is made concerning the most desirable characteristic of HF content which is applied to any programme put through it. The characteristic of the Scintillator has been derived subjectively, ie its what the designer considers to sound best after hours of tweaking. In terms of a hard edged waveform, its positive contribution would be to resharpen corners that had been rounded by time and usage. The drawback is that to allow a general curve to be created an assumption has to be made concerning what is generally missing from a dull recording. The current model lacks the psychic ability to look into the past and see what grave misfortunes led to the dullness of the material: the tape might have been left on top of a loudspeaker magnet, or copied between misaligned machines, or recorded with the wrong type of tape, etc. In each case, the same treatment is handed out. Consequently its a bit of a hit and miss affair. The good news Having said that, it can be surprisingly effective. There is no doubt that its very easy to use and adds a certain brilliance to dull material. It requires far less operational effort than a graphic equaliser, and has the very significant advantage of being stereo, so that there is no problem with image shift as might well be experienced if two mono units were used. Bringing life to a dull recording is only one application. There is absolutely no reason why the Scintillator shouldnt be used to give sparkle to an acoustic guitar or bite to a piano sound. For such applications it would be very useful to be able to use the two channels separately, with the option of a stereo switch. Apparently a future version might well have such a facility. I am not entirely convinced that a good stereo graphic equaliser wouldnt be a better investment if you can only afford a few auxiliary processors. However, for199you aint going to get an awful lot of quality, and you might end up doing more damage than good in terms of additional noise and phase distortion. Its also far, far easier to get a result with the Scintillator than by messing around with a graphic. It comes in a 1U 19 rack mounting metal case with a built-in power supply. Incidentally the transformer is positioned well away from the audio PCB thus precluding mains induced interference. There are only three controls to worry about: 1. A three-position switch to elect modes 1, 2 and 3, determining the cutoff point of the filter 2kHz, 3kHz or 5kHz. 2. Drive: adjusts the level at which the signal is driven into the filter, and thus effectively adjusts its dynamic threshold ie at what point the high frequency content is considered to be low level. A green LED indicates approximately the operating level. 3. Effect: the amount of the side chain (the effected signal) to be mixed back in with the original straight through signal. I have never been a great believer in Aural Exciters et al for high quality professional studios; it has always seemed to me that the desired tonal balance should generally be arrived at consciously, rather than through some black box panacea. If your equipment is limited, though, there is undoubtedly an argument for it as a quick, easy and effective means of reviving poor recordings and adding brightness to virtually anything. As with all effects, it has to be used with care and discernment: it would be very easy to end up with everything sounding overly bright and edgy like coarsely powdered glass; whatever that sounds like. FOR:Cost Operation simplicity. Generally effective. AGAINST:It assumed an initially unacceptable sound. The treatment is basically the same for all cases. You might not like the effect. THE SCINTILLATOR RRP:199

Mid 80s analogue aural exciter, works, pots a bit crackly but probably just needs a clean Collection from Warrington or postage at buyers expense. Review from 1980s magazine... Aurally exciting Its a well noted phenomenon within psychoacoustics that the addition of high frequency equalisation to an existing mix will very often make it sound better. It brings out details and adds air to everything providing extra presence and brilliance. When copying from an analogue source to a Sony PCM 1610 digital, for instance, people often comment that the copy actually sounds better than the original. This can be largely attributed to the slight boost the process gives to the programme around the 5-6kHz region. Also, when making cassette copies of 14 masters, adding a little HF to the copy will often have the client remarking that the cassette offers the superior sound. Unfortunately the impact of the effect wears off and it is easy to end up with harsh, brittle mixes. Scintillation Eq plus The Scintillator is based on the concept of the Aphex Aural Exciter. It was designed to increase the high frequency content of programme fed through it by the generation of upper harmonics, thereby bringing out lost detail. On entering the Scintillator your dull, lifeless sound is sent along two paths: one simply goes straight through to the output via a couple of line amps while the other is a side chain consisting of a high-pass filter (ie only high frequencies are allowed to pass) the output of which feeds into the harmonic generator. This is another name for a distortion box. It basically adds a degree of even harmonic distortion to the sound, by an amount inversely proportional to the level of the high frequency component fed into it. In this way it is effectively applying high frequency compression, thus increasing the apparent presence of low level, high frequency details and bringing out lost details as if by magic. The term distortion is a little misleading as all equalisation is actually distortion in that it changes or distorts the form of the original signal. Any sound that has a discernible pitch can be seen to consist of a complex combination of a fundamental frequency and a series of that frequencys odd and even harmonics. Equalisation simply increases the level of selected bands of harmonics, whereas the Scintillator actually generates extra upper harmonics even where none previously existed. This is important because you may be dealing with a sound that is severely impoverished in that area, and adding sufficient HF gain to bring it out will also bring up untold amounts of unwanted hiss. I was told that the Scintillator doesnt increase the hiss level to the same degree as straight Eq, although in my experience there isnt a great deal in it. What disturbs me about this form of psychoacoustic enhancement is that an assumption is made concerning the most desirable characteristic of HF content which is applied to any programme put through it. The characteristic of the Scintillator has been derived subjectively, ie its what the designer considers to sound best after hours of tweaking. In terms of a hard edged waveform, its positive contribution would be to resharpen corners that had been rounded by time and usage. The drawback is that to allow a general curve to be created an assumption has to be made concerning what is generally missing from a dull recording. The current model lacks the psychic ability to look into the past and see what grave misfortunes led to the dullness of the material: the tape might have been left on top of a loudspeaker magnet, or copied between misaligned machines, or recorded with the wrong type of tape, etc. In each case, the same treatment is handed out. Consequently its a bit of a hit and miss affair. The good news Having said that, it can be surprisingly effective. There is no doubt that its very easy to use and adds a certain brilliance to dull material. It requires far less operational effort than a graphic equaliser, and has the very significant advantage of being stereo, so that there is no problem with image shift as might well be experienced if two mono units were used. Bringing life to a dull recording is only one application. There is absolutely no reason why the Scintillator shouldnt be used to give sparkle to an acoustic guitar or bite to a piano sound. For such applications it would be very useful to be able to use the two channels separately, with the option of a stereo switch. Apparently a future version might well have such a facility. I am not entirely convinced that a good stereo graphic equaliser wouldnt be a better investment if you can only afford a few auxiliary processors. However, for199you aint going to get an awful lot of quality, and you might end up doing more damage than good in terms of additional noise and phase distortion. Its also far, far easier to get a result with the Scintillator than by messing around with a graphic. It comes in a 1U 19 rack mounting metal case with a built-in power supply. Incidentally the transformer is positioned well away from the audio PCB thus precluding mains induced interference. There are only three controls to worry about: 1. A three-position switch to elect modes 1, 2 and 3, determining the cutoff point of the filter 2kHz, 3kHz or 5kHz. 2. Drive: adjusts the level at which the signal is driven into the filter, and thus effectively adjusts its dynamic threshold ie at what point the high frequency content is considered to be low level. A green LED indicates approximately the operating level. 3. Effect: the amount of the side chain (the effected signal) to be mixed back in with the original straight through signal. I have never been a great believer in Aural Exciters et al for high quality professional studios; it has always seemed to me that the desired tonal balance should generally be arrived at consciously, rather than through some black box panacea. If your equipment is limited, though, there is undoubtedly an argument for it as a quick, easy and effective means of reviving poor recordings and adding brightness to virtually anything. As with all effects, it has to be used with care and discernment: it would be very easy to end up with everything sounding overly bright and edgy like coarsely powdered glass; whatever that sounds like. FOR:Cost Operation simplicity. Generally effective. AGAINST:It assumed an initially unacceptable sound. The treatment is basically the same for all cases. You might not like the effect. THE SCINTILLATOR RRP:199