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very unobtrusive 0.5dB/second. However, if the input signal
suddenly blasts or takes a big dive, the correction rate then in-
creases to whatever figure has been set by the
Rate
slider… say
2dB/second, which is four times faster. If the
Window
slider is
set to
0
, the windowing function is essentially defeated, and all
AGC action will be at the speed set by the
Rate
slider.
Rate
is
adjustable between
0.50
(dB/second), which is quite slow, to
3.00
(dB/second), which is pretty darn quick.
With
Gain
fixed at
0
, a
Window
setting of
0
and a
Rate
setting of
0.50
might prove a proper choice for a classical music format
where extended
pianissimo
passages want to remain below
mezzo-piano
ones,
forte
passages then calling for a modicum of
compression.
Alternatively, AGC could be turned completely off in such a
case:
Bypass
, assuming that the classical Boss-Jock knows the
music like the back of his hand and can make judicious artistic
manual corrections on the fly, watching his meters with nary a
blink.
A fast rate with a mid-value window might be just the ticket in
an aggressive pop-music format. Even with this setting, AGC in
the DAVID IV shouldn’t alter the perceived dynamics of the
program, although it will definitely erase long-term level varia-
tions in a hurry.
Some settings might allow AGC action to be audible in speech,
during a talk-show segment for example, but not during musi-
cal programming. You might want to experiment with various
AGC rates using program material representative of your for-
mat. The default settings have proven to work quite well in
most situations.
STEREO ENHANCEMENT
The DAVID IV has a twin-action stereo enhancer. Navigate to
the
Processing / Stereo Enhance
menu:
The
Stereo Enhance
menu has check boxes to turn the enhance-
ment effects on and off, plus two sliders that graphically depict
the expected action of this feature.
Stereo Width
The
Stereo Width
slider increases the perceived width of the
soundstage, the area between the listener’s left and right loud-
speakers. Increasing
Stereo Width
makes the stereo ‘wider,’ ex-
aggerating the stereo effect even to the point of its appearing
to extend outside the confines of the normal soundstage; that
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