Solidyne 562dsp, User Manual

Page: 19 / 44

SOLIDYNE 562
dsp – broadcast digital processor Page 19
Chapter 4 Audio processing settings
4.1 PROGRAM SELECTION
The unit has 15 default programs (00 to 14) and
15 user memories.
The programs selects from the main screen. Turn
the JOG to explore the list and touch briefly to put
a preset on the air.
•
Note that, while you explore the programs, over the program
name appears the navigation instructions.
•
While these instructions are on screen, you are in the mode
“exploring programs”.
•
Selecting a program this legend disappears.
•
Touch and hold the JOG to cancel the exploration. The name
of the current on-air program returns on screen.
CHANGES WILL TAKE EFFECT WHEN YOU
CONFIRM A PRESET PUSHING THE JOG.
4.2 DEFAULT PR OGRAMS
562dsp has 15 programs created by the Solidyne
engineers. Next each preset is explained. These
adjustments are the base for the creation of new
programs. Please refer to “4.3 – User programs”
for details about each processing stage.
00: JAZZ – CLASSIC
(orchestral)
This is a “soft” program. It was carefully created with the
objective of produce the minimum changes to the original
equalization and balance of the orchestra; maintaining the
dynamic expression; by all means: within the limits of the FM
transmission. For this the AGC uses slow attack and recovery
times, and its output level is around 2 dB, to avoid excessive
compression. Remember that an excessive compression will
cause a spectral imbalance unacceptable for Jazz music and
orchestral assembles.
The times for the bands M1 and M2 require special attention,
since there is much participation of soloist’s instruments in this
music. The recovery times must be similarities, otherwise
timbre modulations will take place, mainly in wind joints.
This adjustment reinforces the lows subtly. The dynamics of
the bass stays using slow recovery time for the low band (LF).
The high frequencies are not emphasized. The objective was
to prioritize the fidelity; “clearness” and definition of the
instruments over the “brightness effect”. By such reason the
recovery time of the high band (HI) is relatively slow. Consider
that the listener always can boost trebles in his tuner by
equalization.
This program also is very appropriate for TANGO orchestras,
although generally the tango tolerates a little more processing
(AGC OUT = 4 dB) and can require adjustments in the times of
the bands of M1 and M2, by the stylistic differences in the use
of the vocal intervention respect to the Jazz.
Respect to the voices, this preset will not produce high impact
voices, since it woks with low compression range. But
remember that you can use an special preset for the voices
(with higher processing).
01: 3D SPACE
It’s similar to the previous one; but a little more “strong” (slower
attack times and faster recovery times). This preset uses SRS
WOW processing to improve the stereo image. Values are 7.7
dB of 3D Width and 3 dB of TruBass (cutoff 50 Hz) obtaining
deeper basses. Control “Focus” stays disabled.
This processing works very well with Jazz-POP, country and
blues, folklore, world music, and tango.
02: TruBASS
This is a general purpose preset, with bass boost. This is a soft
preset, since the basses are reinforced not only with TruBass
and increasing the LF band in the density equalizer, but also
lowers the level of other bands. This is because if you attempts
to give prominence to the lows only enhance the band will
cause excessive compression will not achieve defined basses.
03: MELODIC
Here was prioritized the human voice over the musical support.
To respect the “color” and shades of the soloists was the
central objective when creating this program. As reference was
used material of diverse soloists of ballads, boleros and
melodic music. Although this adjustment is centered in the
voice, is not equivalent to adjustment “VOICE IMPACT”, since
the characteristics of the sung voice differs remarkably from
the spoken voice.
The multiband processing is moderate. The AGC output is
about 3.6 dB. Greater values will cause very audible changes
of timbre in some soloists, due to the imbalance that take place
between the bands with excessive compression. The attack
and recovery times stay relatively slow, not to lose the dynamic
profiles completely.
The mid bands M1 and M2, where the vocal energy is
concentrated, apply a considerable compression to the voice,
since their attack times are fast (37 and 17 mS) and their
recovery times are slow (460 mS and 206 mS respectively).
SRS WOW improves the stereo image (6 dB), boost the highs
(Focus 30º) and reinforce the lows (3.9 dB with cut at 50 Hz).
This achieves a consistent sound and high sonority despite
being a moderate adjustment.
The adjustments of the density EQ compensate the balance
between bands to obtain a flat response, comparing the
processed material with the original one. For that reason band
M1, that is the one that receives greater compression in
average, is emphasized not to lose presence the mid-low.
04: MELODIC LOUD
This adjustment is similar to the previous one, but a little
“hardest”. The output level of the AGC was increased to 6.4
dB. Another radical difference respect to “Melodic” is SRS
WOW. TruBass applies a little reinforcement to de lows (2.6 dB