Solidyne 562dsp, Руководство пользователя

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20 SOLIDYNE
ORION 462 MKII
with cut at 40 Hz), supported by a lower attack time for LF
band (22 mS). There is no 3D effect.
05: R&P SOFT 06: R&P MID 07: R&P LOUD
These adjustments were made on Rock & Pop music. They
differ not only in the loudness; are three settings with different
sounds. Obviously, "Soft" is a smoother adjustment that
"Loud." The gain of AGC is 5 dB, 6.4 dB and 7.1 dB
respectively. But the “force” of this presets 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
adjustment, one of the keys to obtain forceful “pumping” bass
drums (or beats for techno music).
The balance between bands in the Density EQ differs in the
three cases, giving different color to the sound. Highs are not
boosted to avoid 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.
The low band is freed to obtain great impact in the beats,
essentially in R&P Mid. This is obtained with a slow attack time
(43 mS) and a fast recovery (540 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 in preset “Mid”, to
obtain “brightness” and presence in trebles, something of
extreme importance in POP music (usually strident, cheers and
“up”).
08: LATINO-SALSA
This adjustment was thought for music with strong presence of
Indo-afro-Latin-American percussion. By such reason, the
attack of the mid band “M2” was freed and, in smaller
proportion, the high band (approximately 14 mS and 17 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 (50 mS).
The attack for the low band is also something fast (18 mS)
whereas its recovery is of the order of 1/2 second. The
objective is to obtain basses with great “height” but without
affect 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 5 dB.
This adjustment is very appropriate also for Son, Salsa and its
derivates.
09: REGGAE
This is a moderate preset with great dynamics and good
loudness. It combines slow attack times with low Density EQ
levels. This combination achieves preserve much of the initial
attack of the instruments, increasing the perception of dynamic
and the "depth" of sound. This is achieved at the expense of a
little decrease of loudness (by the low levels at the equalizer
density), but that is not criticism due to the enhancement of
dynamic range. Uses fast recovery times to compensate for the
density.
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 5 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: MAX BRIGHTNESS
Based on MAX LOUDNESS preset, this program makes a high
boosting of high frequencies, obtaining a great loudness with
remarkable brightness.
HOW MUCH TREBLES?
If you want to prioritize sound quality on the air over the
"impact" that produces the high sonority and
extreme
brightness (at the expense of fidelity), we recommend you:
do not transmit with excessive emphasis on high
frquencies
.
Remember that
the listener
can always
equalize
(boost)
the
trebles in his receiver
. And indeed he will. If the station
transmits moderate trebles but "clean", without over-
processing, the listener may equalize getting good trebles;
clean and defined.
You can achieve high brightness settings using slow attack
(> 10 ms) and fast recovery times (<60 mS) at HF band,
which means over-process high frequency signals (extreme
limitation and some distortion added by the compressor
acting fast). If the station transmits a very emphasized
sound, when the listener boost HF in his receiver will get
very high trebles, but harshness with low definition that will
cause greater fatigue hearing.
12: 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.