— 19 —
Drive
and
RMS/Peak
will have greatest effect over how ‘busy’
the program sounds. Multiband processing action fills
voids in the program spectrum. r.m.s. control (
0 to –10
) will
give a smoother sound and peak-based control (
0 to +10
) a
greater spectral density.
Under
Multiband/Band Drive
, independent sliders at the input
to each band yield a certain degree of static equalization,
plus an ability to normalize compression and limiting
among the three bands.
Band Uncoupling
With most program material, the mid band contains the
most energy and is thus considered the ‘master’ band of the
multiband section.
Band Uncoupling
allows slaving the action
of the low and high bands to that of the mid band. When
fully coupled (
0% Uncoupling
), mid-band G/R will also reduce
gain in the slaved bands, acting more like a single-band pro-
cessor. The slaved bands will still be able to reduce gain
beyond the midband G/R level as needed, but will not re-
lease to a value less than the G/R level established by the
mid band. Advance
Uncoupling
to get a ‘busier’ multiband
sound.
Bass Punch
This is a bass-enhancement feature that accentuates the ini-
tial impact of drums or the pluck of a bass guitar string.
This is a dynamic function and will have no effect on sus-
tained bass material.
Bass Punch
bypasses the multiband
section, so its action will not be evident in multiband meter-
ing.
Limiting
In addition to the
Triband Drive
and
RMS/Peak
adjustments
above, the
Limiting
submenu has a few more user controls
found under
Final Limiter
.
WB Release
WB Release
establishes a dual release function and will have
the greatest effect over perceived loudness in the broadcast
program.
The time-averaged value of final limiting establishes a re-
lease ‘platform.’ Program peaks quickly release to this plat-
— 20 —
form, which itself then releases at a slower rate.
WB Release
sets the platform level with respect to peak gain reduction.
The platform is the solid or yellow portion of
WB
metering;
fast peak release is seen as the hovering segment or blue
section of the display. A default value of ‘
0
’ is a safe com-
promise between ‘smooth’ (
–10
) and ‘loud’ (
+10
). Your sta-
tion programming and personal preference will dictate a
proper setting for your purposes.
HF Limiting and Clipping
FM broadcasting is a transmission system that employs
complementary pre-emphasis and de-emphasis, requiring
an independent high-frequency limiter to avoid carrier over-
modulation. The NOVIA 272 uses both HF limiting and dis-
tortion-cancelled HF clipping to meet this requirement.
HF Lim-Clip
covers the range between full limiting (
–10
) to
mostly-clipping (
+10
) with ‘
0
’ as the default compromise.
Full HF limiting can sound somewhat dull. But even with
distortion-reduction techniques, HF clipping can put an
‘edge’ on vocals and other familiar sounds. Be sure to listen
to a representative sample of your programming before set-
tling on an adjustment here.
Composite Clipping
A modest increase in ‘modulation efficiency’ may be gained
through judicious clipping of the composite multiplex
waveform. This is of course performed before adding the
19kHz stereo pilot and any subcarriers to the baseband sig-
nal.
MPX Clipping
is adjustable between
0dB
and
3dB
. Clipping on
the order of 1dB is nearly always safe from a sonic and
spectrum-clutter standpoint. The effect of composite clip-
ping will not be heard in the headphone output.
Dayparting
NOTE:
The daypart scheduler relies on at least an initial
network connection to sync with Internet time, and with the
proper time zone and other options selected. See the notes
on timekeeping on Page 28.
As many as 20 ‘dayparts’ (changes in a station’s program-
ming) may be scheduled by this built-in feature of the
NOVIA 272. Audio processing presets may be called-up for
