Exciters?

It can be used though. It depends on the situation. I don't think it's the best idea out there, but it could work in some cases.

Filters (like eq) generally cause phase shift. Exciters, enhancers, maximizers etc. typically cause phase shift as part of the design. If that phase shift is applied to a copy of a signal (on the aux channel) and mixed back into the original signal it's likely to become apparent, which is usually a pretty ugly sound. Mixing only small amounts of the effect can reduce the problem, but then the effect would be almost inaudible and rather pointless. Applying eq or exciters on an insert of a channel avoids this problem by having only one copy of the signal.
 
A bit of Aphex history. I had known back when they started that they only leased their hardware, but I didn't know what they charged. According to Wiki they were charging $30 per finished recorded minute for the device. So, instead of owning the hardware a studio would lease it from Aphex at a cost of $900 for use on a 30 minute album. http://en.wikipedia.org/wiki/Aphex_Systems
 
so the crowd noise still seems to be a rather popular part of the audio program.

G.
I've never had the money to buy a set of surround speakers that I would be happy with. My dad has. So I love a game over his place with the surround system cranked up. The best part is that the announcers are isolated totally in the center channel. I actually disconnect the center speaker and watch with the crowd noise and the shotgun mics on the field. It's really cool.
 
The best part is that the announcers are isolated totally in the center channel.
What blows about that (IMHO) is that when you don't have a surround system, the stereo signal is often stuck with the same relative volume balance. With no separate center channel for the announcers, they are forced to compete with the crowd in two channels (or one on older TVs). When the balance is not re-adjusted properly to account for that, the crowd often comes out too loud and tends to make the announcers harder to hear. It doesn't happen all the time; but when it does I want to go there and fire the engineers (or the producer/director, or all of them.)

G.
 
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