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The Behringer SX3040 V2 is the quintessence of the exciter principle that hit the market in the 80s: One or (as in this case) 2 working ranges, 2 channels, at first glance cryptic knob names and a sound that is addictive. Because almost no matter what you process with such a device like the SX3040 V2, it is bigger, fatter, more assertive, more present, louder, just "better" - like with the loudness switch on the stereo system, only adjustable. Guitars that are a bit too thin become thick without needing more gain at the amp, which would blur the sound, digital synthesizers, no matter if old or new, can easily be given an analog stamp and the sharpness can be taken away, bass drums from the (probably simulated) TR-808 really push, strings get more glitter and so on.
Another big advantage of the devices compared to the classic, more experimental approach of earlier days is the extremely accelerated, targeted approach due to the reduced control options; instead of setting up the desired effect with various EQs, overdriven analog circuits (or corresponding plug-ins) and a compressor, the SX3040 V2 can be used to achieve a fat result in no time at all, which you also know is absolutely mixable and serves its purpose. For anyone working with hardware equipment, the SX3040 V2 is a practical make-it-better tool -
Just like its famous predecessors, the SX3040 V2 is a hybrid of a saturation tool, compressor and shelving equalizer. The bass band (Bass Processor) is boosted to an adjustable frequency (Tune) and overdriven (Drive) and then mixed with the dry signal (Mix). This parallel processing maintains signal fidelity while still allowing for extreme processing.
The treble band (Sonic Exciter) is a bit different. Here, Tune controls the frequency above which a fixed boost and harmonics processing should take place. The result is mixed again with the dry signal (Mix). The difference to the
As with EQs and compressors, working with the SX3040 VS is best done at mix or in the context of a band, because the quite heavy interventions change the perception of a signal quite a bit; turning the Harmonics knob can either drown a signal or make it already over-present, too much bass band turned up quickly crushes the other instruments, and so on.
