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Processing clips

Hi Stace,

I'm not familiar with the Unity but I find it a bit pumping. I don't know the things you can adjust on this box but I would set the limiters faster without driving them harder or adjust the AGC section to defeat this. Overall it's a nice sound to listen too for longer time.
 
Unitys are different to every other broadcast processor I've ever used.

It has a WB AGC followed by a 4 band leveller section whose drive/atack/release times aren't adjustable as far as I know. The WB AGC and Leveller's adjust gain above and below 'unity' as opposed to 'gain reduction', which keeps the drive to the limiters consistant. Then you have control of the limiters attack, release, drive, and 'threshold' which I haven't come across before in a broadcast processor before, as well as the option to adjust the crossover frequencies for the 4 bands...

On the AC preset the presence band uses a very high threshold value which allows alot of energy into the clipper, this sounds quite rough and uncontrolled particularly on drums, so I went slightly across the grain when setting up this preset and lowered the threshold and increased the drive to the presence limiter which protects the clipper and built a little density, and sounds much less distorted on vocals.

Thanks for your comments, I'll try a quicker recovery time on the limiters.

Any other comments?

http://fserver.redirectme.net

User: Processing
Password: clips
 
I listened to the unity clip as well and i found. I'm not familar with this unit(y).

Attack/release on lower bands is to short it sounds like a singleband compressor -> bassline around 0 to 300 hz.
You can hear it chopping and releasing on all bands.

Somehow the vocals are also affected by it. Bandlink? or even the agc?
I hear release times on vocals as well. Probably to short. Shure the agc is not to agressive?


regards,

evert
 
There is no control over band coupling. Just individual gating of each band in the leveler section. By bass band release times being too short do you mean too fast or too slow?
 
I added a clip to the server of New York City's WQCD "CD-101.9", which I recorded a year ago off-air. They are definitely using an Omnia-FM, probably the Omnia 6. Excluding WQXR, they probably have the best-sounding audio of any commercial FM station in NYC. Their audio gets a bit clippy on the saxophones and trumpets typical to their "Smooth Jazz" format, but in this clip ("wqcd.wav"), I was surprised at how crisp and clear the sleigh bells come through during their jingle. On other NYC stations, such things like bells and chimes usually sound like broken shards of glass being shaken around, due to the high levels of pre-emphasis clipping employed.
 
Hi !

Recently I've seen some comments about Sound Solution here - In my opinion it's not that bad. Listen to this (Sound Solution_1.2_CE_vII, my own preset):

http://www.sendspace.pl/file/hh2QeVWk/

(press "pobierz plik" to download, file is compressed in ogg format due to lack of space and slow Internet connection)

Slawek B.
 
Replying to an old post...

wgliradio said:
WICC sounds great... especially now that I have an Accurian C-Quam radio (disguised as an HD Radio ;D). I think WICC is using CRL processing. It is a unique sound, but it sounds really good.
Click to expand...
According to these photos, WICC has both an Optimod 9100 and a CRL SMP-950 processor in the rack, but based on what they sound like on the air, I'm pretty sure they're using the CRL.

http://www.necrat.com/wicc_proam.html

Check out the vintage late '80s / early '90s Realistic AM Stereo car radio they use as an air monitor! I also see that their C-Quam exciter is a Delta ASE-1, with a matching Delta ASM-1 C-Quam modulation monitor at the studio.

WEBE's signal is horrible over LI. I know at one time they were directional when WBAB and WEBE were co-owned by Franz Allina, but I would think that has gone away by now.
Click to expand...
Photos of WEBE's smokestack antenna:

http://www.necrat.com/webe_pro.html

Since 107.9 is an otherwise unused channel locally, WEBE's coverage in New Jersey is basically at the whim of propagation conditons. They are always listenable in the northeast corner of NJ, but when conditions are good (especially summer nights), they boom into central NJ like a local.

Unfortunately, here in central NJ, 600 WICC suffers greatly from IBOC hash caused by 610 WIP. I can still receive WICC well enough to hear them in stereo, but with all the noise from WIP, their signal is no longer enjoyably listenable. 850 WREF is suffering exactly the same problem with IBOC hash from 860 WWDB in Philly, but even worse. :(
 
stace said:
Unitys are different to every other broadcast processor I've ever used.

It has a WB AGC followed by a 4 band leveller section whose drive/atack/release times aren't adjustable as far as I know. The WB AGC and Leveller's adjust gain above and below 'unity' as opposed to 'gain reduction', which keeps the drive to the limiters consistant. Then you have control of the limiters attack, release, drive, and 'threshold' which I haven't come across before in a broadcast processor before, as well as the option to adjust the crossover frequencies for the 4 bands...

On the AC preset the presence band uses a very high threshold value which allows alot of energy into the clipper, this sounds quite rough and uncontrolled particularly on drums, so I went slightly across the grain when setting up this preset and lowered the threshold and increased the drive to the presence limiter which protects the clipper and built a little density, and sounds much less distorted on vocals.

Thanks for your comments, I'll try a quicker recovery time on the limiters.

Any other comments?

http://fserver.redirectme.net

User: Processing
Password: clips
Click to expand...

This box sounds very good considering that the AGC control has almost NO user controls. I do like the AGC above and below UNITY control verses AGC's that just seem to deflect into gain reduction. The idea with the Unity 2000 is to make sure that band 3 of the Limiter doesn't run to deep into G/R, causing the box to push an odd hole into the midrange
 
Funny you mention that. Since posting the audio I have reduced the drive to the midrange limiter and sped up its release time which has given it a much more open sound
 
StephanieNYC said:
Maybe an emergency program source in case something happens at the studio? ???
Click to expand...

Those are 16" diameter reels, not the usual 10.5" inch. Thus if that is a backup programming source, then there'd be more dead air if the tape had to be rewound and replayed if the original programming hadn't been restored. I was thinking that deck was being used as a logger.

R
 
The F Mister said:
Why place a logger at the transmittor building and not at the studio?
Click to expand...

That's like asking why place a backup system in the shack? How do you propose to activate it from the studio, if you haven't wired it up for remote control? For me, I'd put a computer automation system in the shack, as backup, since quite a few of those systems can be controlled via remote control.

R
 
Well, the backup source may make more sense. An alarm could trigger a relay that starts that tape machine if it senses no incoming audio for X amount of seconds.

If that tape machine runs at a very slow speed, then it could contain a few hours of programming. Enough filler until things at the studio are under control.

Putting a skimmer at the studio would be better, since you'd need someone to be swapping out tapes as they fill up.

Agreed on the computer automation system, though. I guess AM 60 has had that tape deck sitting there for a while -- and if it works, why mess with it, ya know?

I mean -- look, they're still using a whole complement of cart machines in the control room in addition to the digital stuff for crying out loud!! I say if it works, it works. Leave it alone. :D
 
Maybe they should replace it with an 8 track deck... At least then the tape would continue looping until either the tape breaks or the capstan motor dies. ;D

R
 
The Scully was used at one time for emergency programming
when the station first went on the air back in 1984.
The Scully would start to play into backup audio processing
which is no longer in rack if both analog microwave recievers
were to lose signal, not audio. The Scully was taken out of service around 1989. the analog link is used for back up, and the digital starlink is the main.
 
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