by J. Arif Verner

There has been a plethora of new software plug-ins hitting the market for both PC and Mac formats. While these are exciting times for computer-based audio, one must be aware that compatibility issues exist within different platforms. For example, some plug-ins are available for both PC and Mac, while some are not. Additionally, other plug-ins may only work with certain programs within a given platform. If this seems rather confusing, it is. Picking a DAW or digital sequencer is basically getting married to a specific format. And you know what that means.

Digidesign’s TDM environment is currently available for Mac and Windows NT systems. Since the NT platform is new, it is best to check on the availability of plug-ins.

Back in the 1970s, the Aphex Aural Exciter couldn’t be purchased. It was only available at a rental price of $30 per minute. Yet it appeared on countless recordings, films, commercials, broadcasts and concert performances. After 20 years and a half a million Aural Exciter later, it’s now a software plug-in ($495).

Features

Modeled after the company’s Aural Exciter Type III hardware unit, this plug-in is designed to enhance the harmonic detail of audio material. This translates to a more open, clear, present and natural sound. Unlike equalization, the Aural Exciter extends high frequencies as opposed to merely boosting them. The result is an increased perception of loudness without a substantial increase in gain.

On-screen sliders handle adjustments for highpass filter parameters, the amount of harmonics and the overall mix of processed signals. Several buttons with LEDs control on and off chores along with a Spectral Phase Refractor (SPR). This function adjusts any low frequency delays that may occur in the filtering process.

Aphex has incorporated SPR on other hardware products like their 661 Expressor. Also in the plug-in are several toggle switches that control the amount of density and drive in the harmonics generator. Finally, there are two pair of stereo meters for input and output levels.

While the Aural Exciter Type IIIpi focuses on the 700 Hz to 7 kHz range, the Big Bottom Pro ($379) addresses frequencies from 40 Hz to 400 Hz. Based on the Aphex Model 104, Big Bottom enhances low frequencies to provide a deeper and more resonant sounding bass. Both plug-ins may be used in stereo or mono in/out. An on-screen link control determines the specific configuration.

Functioning with fewer controls than the Aural Exciter, Big Bottom has a similar layout and design. On-screen sliders determine the range of processed frequencies, the amount of the mixed effect and attenuation of the input signal. A drive fader works with the Comp meter in controlling the amount of compression while an output meter shows the overall levels.

Big Bottom also has several switches for soloing and on/off functions. Unique to this plug-in are the Phase and Autotrace features. When activated, the Phase switch alters the effect by setting the sidechain in-phase with the main signal. Autotrace enables an automatic threshold function for the compressor.

In use

Unlike the hardware versions, both the Aural Exciter and Big Bottom support a librarian of presets. This is handy for recalling a favorite guitar sound, an enhanced vocal setting or a fat bass effect. But a little bit goes a long way. Too much high-end sparkle can become brittle and too much low-end boom can turn into mud. So the axiom for these plug-ins may be "less is more."

Summary

Having worked with the analog hardware versions, these digital plug-ins are a welcome addition. In fact, it makes sense to own both programs to cover the entire frequency range. While this kind of processing can be applied to an overall mix, my preference is to use them judiciously on selective tracks. However, experimentation is the name of the game. So whether the job is sonic enhancement or corrective surgery, the Aphex Aural Exciter Type IIIpi and Big Bottom Pro could be the plug-ins to do the trick.

Contact: Aphex at 818-767-2929.

J. Arif Verner, a regular Pro Audio Review contributor, owns Infinite Sound, a project studio that specializes in music, film and audio production.