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Why No Reverb built into Optimod or Omnia??

It's touchy as all heck. Since this has been discussed I have been playing with where I feed the reverb from.

I haven't changed my mind, but I think now the nature of the sound to the reverb maybe should not be fully level-tamed.

For those who already know I'm using THREE steps, I had been taking reverb feed after step one.
Mike came in at this step with no control and reverb on voice was crazy while program was dreamy.

Moved the reverb feed source, (still on a side chain) to the point after steps 2 & 3.
It is harder now to set and the level is more critical, but now voice stays within proportion of the whole
and pretty much has the old WLS impossibly huge yet controlled sound on the voice, too.

Next is breaking out wiring to try this after step #2, where the sound is twice massaged on program but just once on mic.
That might let the voice fly a bit deeper into the reverb than it is with two steps of leveling.

I am pretty darn happy because I have/had been otherwise real unhappy with the mike/reverb balance the old way.

Since it's part 15 I can play as much as I want.

Hearing my own station and playlist "in the sound of WLS" is quite satisfying.
Having suddenly made the mike sound good, now I wish my voice was better. :D
 
I used an Alesis Quadraverb on the PGM outputs after the Compellor set low for the whole mix. The mics were processed with a DBX-166 tapped off the preamp which then fed the Orban 111B and back into the board. Could control the mic reverb and keep the PGM reverb under control. Took a lot of experimenting to get to that point. The EQ functions on the 111B were what made the mics larger than life.

I'll have to find an aircheck and upload it somewhere.
 
You and Tom both need to up some air checks. Speaking of WLS... I Loved hearing
do the boogie check and hearing reverb with the calls and all.
 
Max Kinkel and Chuck Leonard sounded amazing through this chain with the reverb pumped up. So did a young hot shot DJ writing this post (only because I got to study with some of the best). Kinda miss being on the air sometimes, but then I look at my income and that goes away fast. The mic was an RE-27, or what we termed the "3 ball" microphone.

Because of the delay inherent in the AAC encoding, air monitors were fed off air but the headphones were fed from a split after the compellor and Prisms (oh yeah, Prisms and an 8100a with cobalt blue--sounded great on oldies) and run through a TFL-280 for some peak control and to fatten up the headphone feed.

It was fun to kludge all of that stuff together and make it somehow work.
 
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