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I never recommend changing capacitors unless there are signs that the cap is faulty, you can usually see the fault by the can swelling up or leaking. The most likely faults are dirt in the pots and in the contacts in that jack connector on the front panel. Try a very small amount of WD40 in the back of the pots and in the contacts of the jack socket.
Sorry for my late reply….. Yes, please return it to me and I will check it out.
Send it to me….
5 Bay Court,
24 The Fairway,
Bognor Regis PO21 4HD
make sure it is marked as defective equipment sent for repair and quote a very low value otherwise the customs people will try to charge me import duty!
Please drop me a note direct to my email (firstname.lastname@example.org) and I will be happy to send what info I have on the old P1.September 28, 2021 at 4:47 pm in reply to: Is this VC1Q legit? (I just got it from online sale, but it’s super light) #30708
If you turn attack and release both to fastest then with a microphone input it’s likely that the odd transient will clip the control circuitry and cause a click through the system. It’s not a fault….. it’s ‘operator error’!
You guessed right! It’s very much an optical circuit. The dynamics of mixed music and speech on TV is highly complex and extremely difficult to apply control to. My circuitry combines some active filtering (which other audio manufacturers try) together with some compression. The result, happily, is that neither is very noticeable, but the dialogue is clearer! One would think that digital control would be easier and better, but there’s more to it than meets the eye (or ear).
I have been thinking about it!
This problem keeps cropping up;I have had many requests for equipment to improve listening on TV.
Presently, and partly as a result of these requests, I’m working on the development of a new TV loudspeaker (working title TVTR) which will be a simple low price device, but fitted with a form of filtering and compression specifically to help with perception of dialogue. By definition this will help with listening to all types of sound where the dynamic range is too great or where there is interfering noise.
The new loudspeaker will be under the Orbitsound label and should appear mid next year.
As it happens I do have a number of compressors in stock so was able to do some experiments today……
At first I tried putting some classical music through the limiter circuits of my new 828 Mk3 mixer. This was not a success, the limiters do the job of preventing overloads perfectly, but when pushed, add a degree of harshness without accenting the quiet sections sufficiently.
I also tried my P38EX mastering compressor, but I think this one is generally too well behaved; it refuses to carry out the necessary increase on quiet passages.
Lastly I tried a combination of two TFPRO538 stereo compressors in a 500 series rack. Having thought about it overnight I wanted to try using a fast and sharp compressor to bring up quiet sections and to follow it with a much slower’heavy’ compressor to operate more as an automatic gain control for the complete signal.
Of course, the 538 is a sophisticated compressor in its own right; it already has shaped attack and release curves and reacts at different speeds depending on the level and dynamics of the signal, running two of them in series I expected a greater degree of control.
The system works extremely well. I have the first compressor set with about 18dB of audio gain, slowish attack and fast release, with a compression ratio of about 10:1.The second compressor has about 15dB gain, fast attack and slowest possible release. The ratio is about 6:1.
The result is an extremely complex array of time constants that hold the maximum volume level stable and brings up the volume of quiet sections by as much as 22dB with remarkably little noticeable level shifting. The result is acceptable quality and I think, offers a solution to the particular problem.
I’m not sure that this is a practical answer as these compressors are not cheap, but it is certainly an answer. Ideally, I would design a completely new compressor fitted with dual sidechains and optical circuits to emulate the effect of the pair of 538s, but I think the cost would actually be greater than for a pair of existing 538 compressors!
If you are interested in taking this further, please email me at email@example.com
Sorry to read about your hearing problem……
The short answer is yes; it is certain that using a compressor will make it possible to hear quieter sections of music. The principle is a good one, the real question is how to produce a compressor with the best characteristics so that it works well enough without destroying the musicality of the audio.
Over the years I have experimented with many types of compressor and have had systems that would probably do the trick, but I must think further on this…….. I’m going to consider it for a few days and will come back to you.
To those interested in the TFPRO538, there is now a new version with a modified connector arrangement so that it works OK in a standard MCI or Neve 500 series frame. See the product page for news of the version V5!
There’s a lot going on!
The way I changed the circuitry on the Mk3 828 to include an on/off switch was by adding a further buffer stage immeiately before the channel fader, this made the mod possible but it’s not really a practical proposition on an existing Mk1 mixer, bearing in mind that the mixer is now very old and the mod requires a great deal of work.
Right now I’m out of stock of the 538.
I’m working very hard on the introduction of the new Alice 828 Mk3 so it’s unlikely that I will have any new stock of the 538 for a couple of months…… But it would certainly do the job that you talk about!
That’s a nice looking 828 Mk2 and if it ever gets back to ther UK, I should have a look at it and fix the problems….. Meter lighting was always seriously awful on those Sifam meters. Nowadays I take them apart and fit white LEDs.
I see that the last post was in January this year…. a lot has happened since then!
In co-operation with Paul Andersson, the present MD of Alice Ltd., I got my act together during the awful ‘lock-down’ and concentrated on a re-design of the old Alice 828 Mk1.
The result is that now it actually exists! There are a couple of videos on ‘you tube’, the second one is called ‘Alice 828 Mk3 Introduction’.
And here’s a few words about it.
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Not necessarily. There were a number of variations and yours could possibly have been a ‘mono’ one.
However, the new 828Mk3 is now a reality, it has taken the whole of the ‘Covid’ period to develop, but it is now done and sounding the same as the original…. well, it should do; it’s using the same circuitry. The original needed a team of girls in the Windsor factory to do all the point-to-point wiring. The new one has clever precision circuit boards that eliminate all the channel wiring except the faders.
it’s sounding good…. and will be announced very soon!
No, that’s not right. The 828 range all have stereo monitoring with mono/dim switching but with mono PFL.
The new 828 Mk3 has the same but it also has a relay mute system so that the mixer is suitable for ‘self-op’ radio use.
BTW, the new 828 Mk3 is on final test now and will be announced shortly.