Solidyne 462dsp, Руководство пользователя

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Page 18
SOLIDYNE 462
dsp - broadcast digital processor
adjustment, one of the keys to obtain forceful “pumping” bass
drums (or beats for techno music).
The density EQ reinforces the lows slightly. The marked
attenuation in highs looks for to control the ear fatigue
produced by the electrical guitars, which can present high
distortion (intentionally applied, of course) whose density in
bands M2 and HF usually is critical. Remember that the
previous compression stages are of “hard” processing. Very
low frequencies get a “punch” with the “Bass Clipper” control at
-4.3 dB
06: ROCK LATINO
This adjustment was thought for Rock and Pop music with
strong presence of Indo-afro-Latin-American percussion
instruments. By such reason, the attack of the mid band “M2”
was freed and, in smaller proportion, the high band
(approximately 16 mS and 12 mS respectively). This increases
the presence of that bands, in which great part of the spectral
components is concentrated that contribute to “definition” and
“brightness” to the instruments before mentioned. The effect
reinforces with a fastest recovery in the high band (28 mS).
The attack for the low band is also something slow (65 mS)
whereas its recovery is of the order of 1/2 second. The
objective is to obtain basses with great “height” but without
losing the attack, of vital importance in these rhythms, since
many times the bass is who takes the cadence of the song.
This adjustment can be considered a “moderate” processing,
since the AGC output AGC is fit around 8 dB.
This adjustment is very appropriate also for Son, Salsa and its
derivates. For these styles the processing can be increased
increasing the output level of the AGC until around 12 dB.
07: ROCK IMPACT
It’s the ROCK program but with a little more processing.
08: POP
This is another “moderate” preset. Designed for POP music,
which include very many styles, this adjustment looks for
obtaining very good loudness and a “flat curve of EQ”, with
good dynamics.
The AGC level is around 7 dB. The density EQ reaches its
maximum value in the band M1, with -7.8 dB. As was already
said, the equalization curve compensates the response to
obtain a cuasi-flat curve.
Respect to the compressors, the low band is freed to obtain
great impact in the beats. This is obtained with a slow attack
time (49 mS) and a fast recovery (340 mS). In this way, as the
recovery of the compressor is fast, each beat of big drum is
affected by the attack time, that lets pass the initial impulse of
the wave. This impulse that “escapes” is contained soon by
other stages of the processor (limiters). But the result is a
sensation of greater dynamic range. If the recovery time for the
band LF is slow, the attacks of the successive beats would be
“squashed” by the compressor (the attack acts only on the first
beat and never more, which is equivalent to have an attack
time equal to zero).
The high bands also are something released, to obtain
“brightness” and presence in trebles, something of extreme
importance in POP music (usually strident, cheers and “up”).
The “Bass Clipper” threshold is increased up to -3,5 dB.
09: POP IMPACT
This is an adjustment for generic music. The gain of the AGC is
6 dB and the BASS CLIP threshold is -4 dB to reinforcement
the lows.
10: CHILL-OUT
This can be considered a “moderate” processing. “Chill-out”
makes reference to a calm music, generally of electronic
instrumentation.
By the nature of this music, the commitment with the spectral
balance is not capital, that is to say, there is more freedom to
make the adjustments. In this case was chosen to emphasize a
little the lows and the highs presence. This last one is obtained
making fast (60 mS) the recovery of the high band, whereas
the attack of this band adjusts a little slow (20 mS). This
causes that enters in action the fifth band of high frequency
post-processing (HF). The “weight” in the basses obtained with
a fast attack and a slow recovery in the low band and
increasing the gain of this band in the density EQ.
Respect to the AGC, the output level is located about 9 dB,
with slow attack and recovery times.
This adjustment also is useful for “new age music”. Although
these styles are stylistically different, share the use of synthetic
atmospheres and moderate to slow tempo.
11: REGGAE
Is a variation of “Chill-Out” preset with higher “Bass Clipper”
threshold (- 4 dB).
12: BOSSA NOVA
This is a moderate preset. Attack times are fast and recovery
times are moderate.
13: MAX LOUDNESS
This it is the more radical adjustment. As the name of the
program suggests, the primary target was to obtain a great
loudness on the air (and improved reach of the FM), leaving in
background the “clarity” of the sound and the spectral balance.
The output level of the AGC is located in 15 dB, whereas the
density EQ reaches -6.5 dB in the band M1 the highest
adjustment between the 15 default programs.
Since the gains of the AGC and density EQ are high; the
applied compression is something soft, that is to say, fast
attack times and slow recovery times. In this way the signal is
more compressed. It is denominated “soft” because when a
compressor acts, for example M1 on a guitar, the compressor
reacts immediately, to have a fast attack, and maintains with its
gain reduction (slow recovery), containing the successive
attacks of the guitar, that are not affected by the attack
because the compressor still did not recover.
Obviously, the dynamic range perceived in this type of
adjustment is lost almost completely, basically due to the
compression.
The combination of a hard compression with high gains will
cause a heavy processed sound, which will sound rough on the
air with certain type of music.