Presets designed to operate with the original Omnia.11 clipper (pre-version 3.5), the presets were tweaked around the “brightness density” of the old clipper. This “brightness” of the older clipper comes from the way high frequency distortion products were handled. The newer clipper produces very little of these products, and as a result, sounds much “smoother”. Some may perceive this this smoothness as a “duller” sound.
I’ve always loved the sound of processed audio. I’m a big fan of it! The only thing that I do not like about processing audio is hearing the audio processor work. My life goal when developing audio processing is to create well managed audio, but I don’t want to hear the audio processor working to make the effect happen!
The serious pursuit of this goal started late in 1987 when development of my first multiband audio processor began. A short series of multiband designs were developed, all leading to The Audio Chameleon audio processor (APS-1000), which debut around 1990.
This is an off-air audio cassette sourced clip of the early version of the FM Audio Chameleon. This clip features the young version of me as the DJ on my “pirate” FM station. This clip is from around 1991:
There were several versions of the Audio Chameleon produced between 1990 and the last one in 2005. The 2005 model (which still exists) was the last to feature CMOS “hard coded” logic.
I knew the next step would be in the digital domain, where I can just make use of the computers built into the hardware. Why? Because it was obvious to me that the answer to invisible control was more intelligence.
Omnia.11 G-Force is a major update to the dynamics engines. This “plugin” replaces the wideband AGC, Multiband AGC, and multiband limiter algorithms. Most notable in this change is the fact that the limiters now have powerful intelligent control over their activities. This means the new multiband limiters act in a very “positive” way, and also features extremely low IMD in the process. This means there is greater clarity, punch, and detail that comes through vs. the standard “stock” dynamics core. Live voices punch through more, and are better protected from clipper-induced distortion.
There is also a dynamic equalizer section that does NOT use compression for its operation. It provides a high level of spectral consistency from source-to-source without ruining dynamics Continue reading What is Omnia.11 G-Force?→
Whenever audio is “clipped”, it is literally “distorted”. This distortion is very similar to what is used for that big LOUD rock guitar sound. The key to broadcast processing is to do this without the distortion being audible. Clipping in broadcast audio give the audio more “impact” and in most cases also boosts perceived loudness.
The Bass clippers probably came to prominence with the introduction of Bob Orban’s Optimod 8100 audio processor.
In the 8100, the purpose of the bass clipper in the 8100 is to more-or less allow the bass processor to run at a more natural rate. This rate means that the attack time is somewhat slow. Slow attack times means that you sometimes get large peak excursions that must be dealt with to control modulation. The cleverness of the 8100 is this: The peak is allowed to happen, but it is “chopped” off by the bass clipper. This provides instantaneous compression of the bass audio. Without losing bass “impact”. This is cool, but that’s not all! Continue reading What does a “Bass Clipper” do?→
Question: If you were to drop a rock and a tiny pin onto a table, and both land at the same time…do they both make a sound?
Yes they do.
Can you hear them both? Probably not…
Logic would dictate the reason why is because the sound of the rock is so loud that it would “cover” those of the tiny pin. This concept is known as masking. The really loud sound of the loud rock masked the tiny sound that the pin made.