The Aphex Model 602 Aural Exciter, released in 1980, marked a turning point in studio audio processing by offering, for the first time, the ability to purchase what had previously only been available on a rental basis. Known for delivering a level of sonic realism unobtainable by traditional equalisation, the Aphex Model 602 Aural Exciter brought the same circuitry that had been used by top producers on over 4000 albums directly into the hands of engineers and studios worldwide.
Originally introduced in the 1970s as a rental-only unit, the Aural Exciter earned a reputation for adding clarity, spatiality, and presence without increasing level, and without the harshness often introduced by boosting EQ. Engineers valued its ability to bring out detail in vocals, acoustic instruments, and complex mixes. With the introduction of the Model 602, Aphex made that capability more accessible than ever, allowing studios to own the hardware rather than renting it hourly.
The Aphex Model 602 Aural Exciter retained the proprietary processing that made the original Aural Exciter so sought after. It introduced subtle phase shift and harmonic enhancement to emphasise transients and breathe life into flat or dull recordings. Producers and artists embraced its ability to make mixes sound more vibrant, focused, and commercially polished, especially in an era where tape saturation and analogue warmth could sometimes obscure high-frequency detail.
Unlike standard equalisation, the Aural Exciter did not merely boost frequencies. Instead, it generated phase-shifted harmonics that enhanced the perception of clarity, which made it a favourite tool for adding air and presence to vocals and sparkle to cymbals, guitars, and keyboards. The Aphex Model 602 Aural Exciter continued this tradition, giving studios full control over this unique sonic signature for the first time.
Its release cemented the Aphex Aural Exciter as a studio essential not just for rental but as a permanent part of the engineer’s toolkit.