This is an interesting exercise in itself, but one which can be given some greater purpose by the possibility of splitting the signal in a DAW or mixing desk prior to feeding it to the Clariphonic, further manipulating the non‑FF blend (with compression, for example), and then mixing that back in with the original signal (although obviously this cannot be accomplished inside the Clariphonic itself). To hear just what those engines are doing to the signal, it is possible to kill the FF path. The chicken‑head knobs provide gain control for each engine, and this determines the blend of the two that will be summed with the FF‑path signal. If that sounds confusing, the signal flow diagram overleaf should make this much clearer! In short, the design means that at the output the summed stereo signal is made up of one element which is entirely unprocessed, one that has passed only through the Focus engine, and another that has passed only through the Clarity engine. The other four go to the Focus and Clarity 'engines', where they're processed before being sent to the same output bus as the FF signal. Two, which form the FF path, go direct to a summing bus, and remain untouched.
Signals coming into the Clariphonic are split into six paths to allow for the parallel processing that lies at the heart of this design. The rear panel has both balanced and unbalanced input and output connections, and a switch on each channel to choose between them.
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It's a 1U rack design in the signature Kush Audio colours - a warm, muted brown with yellow highlights (Kush's full philosophy of 'general aesthetic eccentricities' can be found on their web site), and is small and neat, with just four chicken‑head control knobs, five small, silvered three‑way toggle switches for each channel, and three two‑way toggles in the centre. The Clariphonic doesn't look like any other EQ, either. but as far as I know it's the only one that does both, and whose shelves have quite the shape and high reach that they do. It's not the only parallel EQ on the market, and it's not the only one that predominantly uses shelves for sonic enhancement. It has no bells or filters, just boost‑only high shelves, and it has a parallel signal‑path topology, about which I'll say more in a moment.
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