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SOLIDYNE 462
dsp – broadcast digital processor Page 17
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.
THE CHANGE WILL TAKE EFFECT ON THE AIR
JUST WHEN YOU LOAD IT BRIEF TOUCHING
THE JOG.
4.2 DEFAULT PR OGRAMS
462dsp has 15 programs created by the Solidyne
engineers. Next each preset is explained. These
adjustments are the base for the creation of new
programs.
00: JAZZ – CLASSIC
(orchestral)
This is a “soft” program. The objective was respect the original
equalization and balance of the orchestra; maintaining its
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 4 dB, for not to produce
excessive compression. Remember that an excessive
compression will cause a spectral imbalance unacceptable for
Jazz music and orchestras.
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 fast recovery times 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 emphasize the 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 = 7 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.
01: JAZZ IMPACT
It’s similar to the previous one; but a little more “strong” (slower
attack times and faster recovery times). JAZZ IMPACT apply a
little increasing to the BASS CLIP threshold to reinforce the
bass “punch”. This processing works very well with Jazz-POP,
country and blues, folklore and tango.
02: 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 4.3 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 (17 mS) and their recovery
times are slow (540 mS and 181 mS respectively).
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.
03: MELODIC HI BOOST
This adjustment is similar to the previous one, but can be said
that a little “hardest”. The high presence was increased,
releasing the attack (18 mS) and lowering the recovery time
(60 mS). The mid-low band (M1) has a faster recovery time
(400 mS) and the low band is slightly more compressing. The
output level of the AGC was increased to 5 dB. A bass punch
is added setting the “Bass Clipper” control at -4 dB.
04: MELODIC IMPACT
This adjustment is similar to the previous one, but with al little
hard processing.
05: ROCK
This adjustment prints a remarkable processing to music. The
gain of the AGC is around 9 dB, which that considers a “strong
processing”. The “force” of this preset is sustained not only by
the AGC output level, but also by the fact that all the bands
have slow attack times and fast recovery times. By such
reason, the fifth band of highs post-processing will have
noticeable incidence on the processing.
When all bands have fast recovery times; the action of the
attack times prints “force” to the sound, given “punch” to the
music. This is because being fast the recovery, the next
impulse finds “released” the compressor, and this will take time
again in containing the signal; which lasts the attack time. This
effect is more notable in LF, and as it is explained in the POP