Solidyne 542 APC, Руководство пользователя

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TAKE IN MIND
•
When creating customized preset for the voices, be
aware that the equalization should not be too far from
the preset used for music. It is recommended that the
density equalizer in the preset for voices maintain a
similar equalization profile that the used in the preset
for the music.
•
When using GPI switching, we recommend customiz-
ing the settings used for voice and music so that the
SUPER BASS and STEREO ENHANCER stages remain
in the same state in both programs. Stereo Enhancer
processing will have no effect on the voices, since
they are monaural (the same signal on both channels)
but will affect the background music.
3.3.2 SOFT PROCESSING
This is the softest preset for music. It is an adjustment of
great dynamics and less loudness. It seeks to respect the
balance of the orchestra, maintaining the dynamic expres-
sion, within the limitations of FM transmission.
The THRESHOLD of the multi-band compressor are ad-
justed to produce less compression. The Density EQ
works with values in the order of -4dB, resulting in a higher
dynamic range but reducing the loudness. Excessive
multiband compression can cause a spectral imbalance
that is very audible in acoustic instrumentation (jazz and
folk) and orchestras. Because of the characteristics of
these musical genres, a good ear will judge as excessive
the audio processing that would be appropriate for rock,
pop and mainstream music.
The times of the bands MID-2, Presence and HI require
special attention, thinking in the soloist instruments. The
recovery times of the bands must be similar, otherwise
modulations of the timbre in some instruments may oc-
cur.
The adjustment strengthens the bass slightly. The bass
dynamic is maintained with ½ second recovery time for
the LOW band.
High frequencies are not emphasized. It seeks to prioritize
the warmth, "sharpness" and definition of the instruments
over the "bright effect". For this reason the recovery time
of treble band (HI) is sightly slow. Keep in mind that the lis-
teners can always emphasize the treble on their tuners
(and usually they does!).
Regarding the announcers, this preset will not achieve
high impact voices, with "fat" basses, because it works
with little multiband compression. It is recommended to
use GPI switching and use the Voice-Soft preset for
voices.
3.3.3 DeepBass/XtendedBass
Both settings emphasize bass. DeepBass reinforces very
low frequency present in the original material, at fre-
quencies around 96 Hz, and maintains the "punch" by re-
leasing the compression threshold of the LOW band and
adjusting the limiter/clipper of that band to almost 100%
(0.25dB). XtendedBass uses the "SuperBass" stage to
extend and reinforce low frequencies in the mid-bass
zone (100 - 300 Hz).
While the first adjustment reinforces low-performing
speakers with good low-frequency response, the second
is appropriate to force the presence of bass on systems
with small, limited-response speakers.
3.3.4 Vocal Music
These settings are created with music in which the singer
predominates in the foreground. To create the preset were
used orchestrated pieces and music with rhythmic bases.
The goal was to keep the vocal range "soft" to get "clean"
and defined vocals.
The AGC MB has its range of action very limited, to avoid
colorations and sudden changes of level due to the great
dynamics that many of the songs with predominance of
the singer have.
Compressor recovery times are a key setting. When they
are very fast, the voices can sound "harsh", losing natural-
ness.
3.3.5 MaxLoudness
This presets provides the loudest sound. They are focused
on the loudness. In presets with high loudness, the spec-
tral balance can be altered, because frequencies of the av-
erage range are emphasized.
The dynamics are strongly reduced to achieve high levels
of average energy. MaxLoudness 1/2/3 presets are for
general pourpose, as they respond well with different mu-
sic styles. They use different clipping level for MPX (over-
drive).
MaxLoudness-3 was created with pop hits of the last
decade, that have strong presence of electronic rhythmic
bases and synthesizers, and very high levels of loudness
according to the criteria used in the mastering process.
The combination of hard compression with high gain re-
sults in a compact sound, which may sound "harsh" on the
aire. Many FM stations that prioritize a high loudness are
especially looking for this kind of sound.
3.3.6 Presets optimized for ITU BS.412
Presets "BS412 Hi End" and "BS412 Punch" are optimized
to be used with the MPX ITU BS.412 power control. The
broadcasters regulated by BS.412 are free to use any of
the factory presets, but the optimized presets make better
use of the dynamic range that is generated by the relation-
ship between bounded MPX power and 100% modulation.
3.4 WEB INTERFACE
All setup options, advanced settings and audio settings
are accessed using an external computer .
1. Connect the 542APC to the LAN router/switch,
using the CONTROL Ethernet port. DO NOT CON-
FUSE THE CONTROL ETHERNET PORT WITH
THE STREAMING ETHERNET PORT (units with
the optional /AoIP).
2. Loock at the IP address on the OLED display on
the front of the rack..
Page 18 Audio Processing Core - SOLIDYNE 542 APC