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PostPosted: Sat Feb 03, 2018 8:54 pm 
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Joined: Sat Dec 02, 2017 2:31 am
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EDIT: Any and all feedback is appreciated, even if it's a quick "This sucks" or "This is good." Please let me know what you think, as this is the preset I intend on using with a Webcast sometime in the near future.



PREFACE: You're either gonna love it or loathe it, but after weeks of work I've finally got it close enough to tolerate. Whatever the case, I guarantee this one will rattle the dishes. It's certainly louder than any of the other presets I've tried from the forums labeled "Loud and Clean."

A word of warning, if you're accustomed to widely dynamic processing for jazz or classical music, you will likely find this preset far too brutal on dynamics and objectionable to listen to. But if clearly hearing otherwise indiscernible instrumentation buried in the background of a song is an acceptable payoff for being hit with what you'd likely call "a homogenized wall of sound," you've come to the right place.

Please note that any modules omitted from the processing chain (such as Natural Dynamics) are intentionally left out to help prevent extreme audible pumping, breathing and compression fluttering artefacts.
Attachment:
File comment: Version 1.0, initial commit
KRVE-WFMF-WYNK_v1.0.sts [99.33 KiB]
Downloaded 254 times
NAME: KRVE-WFMF-WYNK_v1.0
YEAR: 2004
STATUS: Defunct
MODEL: Unknown (possibly Omnia 6 or analog Optimod with pre-processing)
FORMAT: AC/CHR/Country
COMP RANGE: ~25dBFS
COMP BANDS: 6/3
EQ RANGE: 35Hz - 15KHz
INPUT ALIGNMENT: 0dBFS@1KHz = -3dBFS (analog)/0dBFS (digital)
OUTPUT: 0dBFS, appx. -9 to -10LKFS (ITU BS.1770)
ST VERSION: 8.52+
ST MINIMUM LICENSE: Basic + Advanced Dynamics
PROCESSES: Noise Gate, Phase Rotator, Auto EQ, Sidechained AGC, Stereo Boost + ACR Stereo, True Bass, Multiband 1 + Multiband 2, Bass Boost, Advanced Clipper

DESCRIPTION: One word: LOUD. This preset is designed to closely match the characteristic microdynamics exhibited by former systems in place at three FM stations in the Baton Rouge market. The sum of this processing chain operates within roughly the top 25dB of signal before compression drops off. The overall sound quality is best described as punchy. The bass is extreme, with controlled overtones that create a growling effect on some music. Bass dynamics create a very clear, firm punch to the kick drum in most songs. Lower-toned voices, particularly male, are very roaring and boomy. Most vocals, including some lyrical content of songs, produce very distinct and pronounced microdynamic popping and punching on certain syllables, including some vowel sounds depending on prominence of onset. Midtones are very pronounced and clear, allowing lyrical content to remain focused. Processing on upper mids and highs is relatively light, and although not very bright or sparkling, function well with the bass-centric sound. Shorter compression timings, combined with stereo expansion, provide greater emphasis on softer sounds -- particularly reverb.

NOTES: I think the idea of the original processor(s), whatever that may entail, was to unify the sound quality of extremely divergent recordings across multiple decades. I feel this preset accurately captures this concept at its core.

The following tracks were used in the creation of this preset, and best exemplify the expected timbre and microdynamic behavior:
> The Police - Every Breath You Take
> Daryl Hall & John Oates - Sara Smile
> Daryl Hall & John Oates - Kiss on My List
> Santana ft. Michelle Branch - The Game of Love
> Billy Joel - My Life
> Celene Dion - A New Day Has Come
> Lipps, Inc. - Funkytown
> Madonna - Get Into the Groove
> Michael Jackson - Workin' Day and Night
> Rob Thomas - Hold On Forever
> Phil Collins - Can't Stop Loving You
> Maroon 5 - This Love
> Mr. Mister - Broken Wings
> New Order - Blue Monday 1988
> Pet Shop Boys - West End Girls
> The Whispers - Rock Steady
> Midnight Star - No Parking on the Dance Floor
> Midnight Star - Midas Touch
> Pretty Poison - Cath Me (I'm Falling)

I have not tested this on an FM transmitter, as I don't have one with an MPX input at my disposal -- only a Whole House FM 3.0 unit. However, I did route the 192KHz output of ST through Virtual Cable into MPX Tool, and the demod out with 75uS de-emphasis sounds nearly identical to the Normal Output to me.

I am interested in hearing feedback about potential issues, things that need changes, and maybe even listen to modified versions, if anyone decides to make any. Let me know what you think!

And of course, if anyone has any LPFM transmitting hardware to test this thing out on, do please let me know the bench test results.


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