Who uploaded the dspXtreme? Was this a prototype?
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AIRCHAIN PHOTOS
- Thread starter stace
- Start date
I find it amusing how you have the Omnia sitting on the garbage can.wgliradio said:
I also see two C-Quam modulation monitors in the rack... is that an AM Stereo station, or just a mono one that uses stereo mod-mons to measure IPM (incidental phase modulation)?
And what's with all the red paint inside the 8100?
p.s. I just added two photos of my own equipment, as well as two photos of processors that were sold on eBay, and one photo of unknown source (the CRL "mega rack").
The station was a former C-Quam. I have both the BE and Harris exciters from this station and they are alive and well.
The garbage can was the only "portable table" we could find to do the demo.
The 8100 was damaged by vandals at a transmitter site that sprayed red paint around. I have cleaned up the outside but not the inside.
The garbage can was the only "portable table" we could find to do the demo.
The 8100 was damaged by vandals at a transmitter site that sprayed red paint around. I have cleaned up the outside but not the inside.
WGBB? Or maybe WNYG?wgliradio said:
Did someone leave it unlocked? Tsk, tsk!
Kevin Tekel said:Did someone leave it unlocked? Tsk, tsk!
More likely vandals broke into the transmitter room. We've had those kinds of problems here in Texas. They'll break in, destroy transmitter equipment, the incoming electrical supply equipment, steal whatever they can pick up, etc... You name it, they've probably done it.
R
Kevin Tekel said:WGBB? Or maybe WNYG?wgliradio said:
Did someone leave it unlocked? Tsk, tsk!
You'll notice the audio processors have lables that tell which TX they feed.... 317 C and DX 50. A little bit much for WGBB and WNYG to swallow.
As for the 8100, I have uploaded a pic of what it looked like before the meters were replaced. Paint just got in everywhere... you will notice the paint on the inner knobs. Bloody!~
You guys have way too much processing gear! ;D
Cool pics, however! 8)
All we use is a Compellor and an 8200. But then again, we're looking for quality preservation over loudness.
R
Cool pics, however! 8)
All we use is a Compellor and an 8200. But then again, we're looking for quality preservation over loudness.
R
For a blast from the past, check out oidar.com. On the WHBQ tribute section, in the photos, is a picture of the processing rack we used circa 1977. This was pre-Optimod, pre-Durrough DAP (for us anyway). It was designed by the RKO engineering folks who did KHJ and KFRC, and implemented by Chris Karb, our CE. The top unit split the signal into multi-band, and they were processed individually by the units below, then recombined. I remember that we would route our mikes through the "audition" channel, and the music and spots in "program", so the voices receive separate processing. Obviously, all of this rack (and more) is available in one box now.
M
menotti1
Guest
QUOTE BY ROBERT BASS
All we use is a Compellor and an 8200. But then again, we're looking for quality preservation over loudness.
Ask Santa for a new Omnia 6EX.This way you have Both of those components.....
All we use is a Compellor and an 8200. But then again, we're looking for quality preservation over loudness.
Ask Santa for a new Omnia 6EX.This way you have Both of those components.....
menotti1 said:
We're NCE, so Santa isn't that generous.
R
Back to the topic... I uploaded screen-shots of the Sonos processor I've been using for the audio clips I've been providing for the "Processing Clips" thread. Sonos functions as a chain of modular plugins, of which the main audio processing ("Limit") is just one of them. Other useful plugins include a phase rotator, parametric EQ, stereo expander, spectrum analyzer, oscilloscope, and signal generator. (I didn't use any of these extras while recording my audio samples.)
On the main processing screen, I have most of the controls open. You can open and close these controls without disturbing their settings. When you have multiple controls open, you can drag-and-drop them into a desired order, and adding more controls than can fit on the screen will "bump off" the least recently used ones. It's the same user interface that's used on the remote control software for the Inovonics Omega FM processor, whose DSP Mr. Burnill also programmed.
p.s. The colors on the processing screen are not normally that vibrant. You can change the color and text font of almost everything on every screen! Also, the range of each meter can be set to 10, 20, 40, or 80 dB, and the decay speed and time alignment of the meters can be adjusted.
On the main processing screen, I have most of the controls open. You can open and close these controls without disturbing their settings. When you have multiple controls open, you can drag-and-drop them into a desired order, and adding more controls than can fit on the screen will "bump off" the least recently used ones. It's the same user interface that's used on the remote control software for the Inovonics Omega FM processor, whose DSP Mr. Burnill also programmed.
p.s. The colors on the processing screen are not normally that vibrant. You can change the color and text font of almost everything on every screen! Also, the range of each meter can be set to 10, 20, 40, or 80 dB, and the decay speed and time alignment of the meters can be adjusted.
F
fugazi
Guest
Uploaded a picture of my rack as well.
Regards,
Evert
Regards,
Evert
I uploaded a photo of a rare Optimod: the 8101B, which is just like the 8100 except it does not have a built-in MPX stereo encoder (and is painted brown). It was primarily designed for European stations where the transmitter site is government-owned (and thus is inaccessible to the broadcaster) and already provides a stereo encoder.
In this case, the 8101B is set up with a pair of Texars, and a CRL Modulation Signature takes care of the MPX encoding.
In this case, the 8101B is set up with a pair of Texars, and a CRL Modulation Signature takes care of the MPX encoding.
What I'd like to see is a stereo encoder for the "polar modulation" FM Stereo system used on the 65.8-74 MHz OIRT FM band in the former Soviet countries. Most countries have switched over to the regular 88-108 MHz CCIR FM band, but the OIRT band reportedly remains in use in Russia, Belarus, Moldova, and Ukraine.Goran Tomas said:A European Orban with American pre-processing
Also, when OIRT countries first began using the CCIR band in the early 1990s, some stations continued to use polar modulation stereo on the new band, until they could get their hands on a pilot-tone system generator (what we know as "MPX stereo").
Thus the 8101B also comes in handy for polar-modulation stations, at least for those rich enough to afford it!
Someone uploaded a photo in the main "Processing Clips" folder... but it's a good one because I spy an Orban 418A!
In Robert Orban's own words:
"The 418A was basically an Optimod 8000 broadcast compressor without the stereo generator. Following the wideband compressor, it had an adjustable high frequency limiter that could operate on 25, 37.5, 50, or 75us pre-emphasis curves. The ratio was fixed at better than 20:1 and the attack time at about 2 ms. The release time was adjustable. Gain control was done by FETs. The unit was oriented more towards mixed program material than processing individual tracks, and the sound was not very adjustable by comparison to a device with attack and ratio controls.
I still use one in my vocal processing chain after the dbx 166. The 166 is operated typically at about 2:1 ratio, so the 418 catches peaks and prevents overloading the record medium in case the vocalist gets too enthusiastic. I use a maximally fast release time for this function.
I operate the HF limiter on the 37.5us curve. It does some de-essing and can also help alleviate harshness on a dynamic basis (a bit like the old 'vocal stressor').
These units were manufactured from 1976 to 1981, if memory serves."
In Robert Orban's own words:
"The 418A was basically an Optimod 8000 broadcast compressor without the stereo generator. Following the wideband compressor, it had an adjustable high frequency limiter that could operate on 25, 37.5, 50, or 75us pre-emphasis curves. The ratio was fixed at better than 20:1 and the attack time at about 2 ms. The release time was adjustable. Gain control was done by FETs. The unit was oriented more towards mixed program material than processing individual tracks, and the sound was not very adjustable by comparison to a device with attack and ratio controls.
I still use one in my vocal processing chain after the dbx 166. The 166 is operated typically at about 2:1 ratio, so the 418 catches peaks and prevents overloading the record medium in case the vocalist gets too enthusiastic. I use a maximally fast release time for this function.
I operate the HF limiter on the 37.5us curve. It does some de-essing and can also help alleviate harshness on a dynamic basis (a bit like the old 'vocal stressor').
These units were manufactured from 1976 to 1981, if memory serves."
I'm shore Goran can move it to the picture folder, and while I'm at it. Someone uploaded a reeeeeal nice stack of various Orban and texar stuff.
Who is the lucky b*sterd as it looks like a home stack to me.
Who is the lucky b*sterd as it looks like a home stack to me.
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