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To be (digital), or not to be, that is the question. ( to Frank and Bob maybe)

Re: To be (digital), or not to be, that is the question. ( to Frank and Bob mayb

David Reaves said:
Tom Wells said:
Bring back the knobs. Presets are useful for those who don't understand what they are doing.

And if they don't know what they are doing, maybe they should be doing something else, or maybe the industry

needs to establish "audio processing" 1 or 2 week courses, so they can learn how to use a processor.

Tom, presets can and do coexist with 'knobs.' Virtual knobs, anyway. And be careful with that word "should." ;)

Rather than a lack of knobs, what I see as the problem are people who **should** be preset users who do not have time or interest enough to approach the 'knobs' with the expertise it takes to use them.
Yet, even with the best intentions, because of either peer or corporate pressure or perhaps ego, many end up jumping into the deep end without a life preserver (and up the creek without a paddle, to mix metaphors).

Yes, they have the presets with, in Orban's case, the 'Less... More' control to fall back on. And, God bless 'em, a lot of people do just that.
But the industry (gee I hate to bitch but really, I can't help myself) has so overworked and stretched the engineering resources, that many engineers simply don't have time to focus on processing. Sometimes processing becomes a drawn-out 'work in progress' that goes on for months; meanwhile the station sound suffers while the engineer's attention is diverted putting out fires. Busier than a set of jumper cables after a redneck family reunion, as they say. :D

FFoti1 said:
Maybe we, as an industry, do need to consider some type of audio processing education program. I'd be game to do something like that. If you're interested in that idea, let me know.

Frank, (and Tom) I've long had the thought in the back of my mind to offer a (non-partisan) series of processing courses. It's not much different from the consultancy I've done in the past. It would be really useful for those who need it, and I'm pretty sure others on this list would be interested in pitching in, too.

But I'm afraid those who need it the most are the ones who have the least amount of time to take such a course.


Kind Regards,
David

Ok, I'm a bit too quick with my '"should"s.. I should have stayed out of radio. I did. I knew when I was 11 in 1972 and discovered Cab Calloway, that
I was never going to get many other people to realize that smokin hot jazz from 1927 was the same as rock-n-roll.

I still went on to radio engineering school, only to have the 1st Class license door slam in my face.
Nevertheless, I have my experience in radio as a more than casual listener, collector, equipment builder, RF engineer and audio engineer.
I won't say say digital is better or worse as regards audio, but there's a devil in the details.


Indeed those who most need help often cannot afford to pay for it, and may even be so inexperienced they don't realize they need it most.
It is difficult to provide training that is non-partisan in today's environment.
Everyone is ignorant, only on different subjects.

In the printing industry, we have GATF, the Graphic Arts Technical Foundation, providing standard references for printers to determine
whether the sum of their process steps results in a uniform output.
On a new press, everyone runs a GATF standard form to check for grayscale, "fit", slurring, dot gain and other print deficiencies, all measurable
compared to the GATF reference standard.
Wouldn't it be a wonderful world had such an audio "proof" been developed for use by the broadcast industry?
Competition would still exist, as does in graphic arts, but there wouldn't so much of "my ears" vs "your ears".

I still love real knobs.. Debounce timing on most mfr's equipment enrages me. When I push a button firmly, I expect action NOW, not in 250 ms.
They all seem to act like there's a 10 Henry choke on the DC return circuit. Push, wait, push wait.
A double-click in a computer is nothing more than a switch that acts funny. Why not define a "7-click"?
"7-click" to confirm now.
I'd much rather open my car door with a key, reach in and across to open the other car doors with my hand, than fuss with trying to make a double-click
on a gigantic car key to open the other doors.
Why must car keys now be SO huge and unwieldy as to endanger my femoral artery when placed in my front pocket?

Call me a luddite if you will, but I don't accept change for the sake of change. I prefer progress.
I accept it in digital or analog form, if it's REALLY progress, not just marketing, or eyewash.
 
wgliradio said:
Do you ever incorporate end user presets in your lists during software revisions?

Indirectly.

We have a lot of discussions with our end users and have responded in many cases with presets that meet their goals. However, because of Less-More, we cannot use end user presets directly because an Optimod factory preset is actually a collection of many presets, so we would still have to create the Less-More anchor points for a given end-user preset. At this point, it is no longer really an end user preset anymore.

If users want to swap presets, it's easy to do via our PC Remote software.
 
Re: To be (digital), or not to be, that is the question. ( to Frank and Bob mayb

David Reaves said:
But the industry (gee I hate to bitch but really, I can't help myself) has so overworked and stretched the engineering resources, that many engineers simply don't have time to focus on processing. Sometimes processing becomes a drawn-out 'work in progress' that goes on for months; meanwhile the station sound suffers while the engineer's attention is diverted putting out fires. Busier than a set of jumper cables after a redneck family reunion, as they say. Cheesy

I have to agree there. When you're first starting out playing with processing (at least in my case), it can take AGES to come up with something that sounds GOOD for the particular genre of music your station is playing. After you get some experience and you know what to listen for, it becomes a 10 to 15 minute job.

I played on and off with one particular processor (actually a Winamp plug-in) for MONTHS until I came up with something that sounds good. The experienced pro who's been teaching me a few of the ins and outs came up with something in one evening. Boom boom. ::) :D
 
Re: To be (digital), or not to be, that is the question. ( to Frank and Bob mayb

Oh man, I can get an Omnia to sound good in about 15 minutes, regardless of format. Fabulous box. It's taken 4 years of dealing with them to get here...but what a piece of cake!
 
Re: To be (digital), or not to be, that is the question. ( to Frank and Bob mayb

Sgeirk said:
Oh man, I can get an Omnia to sound good in about 15 minutes, regardless of format. Fabulous box. It's taken 4 years of dealing with them to get here...but what a piece of cake!

You said it yourself, homey. Four years! From where I stand -- at the other extreme....that's a lifetime. :)

I'll get there eventually. *whisper* then watch out. ;D
 
Sgeirk said:
Oh man, I can get an Omnia to sound good in about 15 minutes, regardless of format. Fabulous box. It's taken 4 years of dealing with them to get here...but what a piece of cake!

I must admit after working only with Orban product, I was quite negitve about Omnia when I first came across an O3t and then O6. But only because of the different nature, I was trying to make the Omnia do what I liked in the Orban, big mistake. After many frustrating hours in front of the Omnia I now know how THEY like to be set and actually prefer their sound (on some material). The sound is more defined, someone once posted on this board a great similie "the bass in Orban is like bouncing a big beach ball, nice and round, and the Omnia is more like a tennis ball, more defined and natural. Don't try for an Orban bassline with an Omnia or vice versa...yuk :-[
 
Re: To be (digital), or not to be, that is the question. ( to Frank and Bob mayb

StephanieNYC said:
You said it yourself, homey. Four years! From where I stand -- at the other extreme....that's a lifetime. :)

I'll get there eventually. *whisper* then watch out. ;D

Just remember, Stephanie. We all were once where you are now! ;)

If you track down my old Radio Guide article series on broadcast processing, you may find lots of useful info there...

stace said:
I must admit after working only with Orban product, I was quite negitve about Omnia when I first came across an O3t and then O6. But only because of the different nature, I was trying to make the Omnia do what I liked in the Orban, big mistake.

Bingo!

When folks go to evaluate an audio processor, they need to remember this! After all, what would be the point if both companies tried to make their boxes sound like the others?

;D

-C
 
stace said:
"the bass in Orban is like bouncing a big beach ball, nice and round...

Bass on current Optimods is *extremely* adjustable. There's 6, 12, or 18 dB octave slopes on the bass shelving EQ; soft, medium, or hard bass clipping with adjustable threshold; attack and release times with the band 1 compressor; band 1 limiter attack time; band 1 <> band 2 crossover frequency; AGC crossover topology; AGC bass band attack, release, and theshold controls...

All of these controls affect bass texture, so I wouldn't describe Optimod bass as having any one "sound."
 
Re: To be (digital), or not to be, that is the question. ( to Frank and Bob mayb

rorban said:
Bass on current Optimods is *extremely* adjustable. There's 6, 12, or 18 dB octave slopes on the bass shelving EQ; soft, medium, or hard bass clipping with adjustable threshold; attack and release times with the band 1 compressor; band 1 limiter attack time; band 1 <> band 2 crossover frequency; AGC crossover topology; AGC bass band attack, release, and theshold controls...

All of these controls affect bass texture, so I wouldn't describe Optimod bass as having any one "sound."

Yes..true...but there is still a basic "sound" to the bass that is distinctly "Orban".

...Not that there is anything wrong with that...

;)
 
Re: To be (digital), or not to be, that is the question. ( to Frank and Bob mayb

StephanieNYC said:
You said it yourself, homey. Four years! From where I stand -- at the other extreme....that's a lifetime. :)

I'll get there eventually. *whisper* then watch out. ;D

Perhaps you need to get in touch with someone who knows processing? ;)

From what I've seen, you have a few weapons at your disposal now
 
I submit you can get it close in a short period of time, but you haven't got the best your stuff is capable of until you've given it three or four days of fairly critical listening and then touching up.
 
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