Signel Chain/Where to use compression?

[Garak]

I'm setting up a small mobile studio for community FM radio and for internet radio(Shoutcast) and I'm trying to figure out whats the best signel chain for radio. My experience is with live audio and computer recording.

So far I have a Behringer 2004a mixer and a Behringer 4 channel compressor/limiter. I also have 2 SM-57 dynmic mics, a Studio Projects C1 Large Condensor(Think u87), a pair of Yorkville YSM-1i Studio montiors, a M-Audio Delta 44 soundcard(4in/4out 24bit/96khz) and lots of cables, mics stands and misc home electroincs(tape decks, amps, etc...)

My main question is where should I use my 4 channels of compression? Should I use one on mains and the other 3 inserted on the mics?

Also how much compression should I use at each stage?(ratios, threshold, etc...)

What other processing should I buy? Dose anyone use reverb live on the air?

What about an affordable phone patch/hybrid?

Anyone have any links to sites with block diagrams of studio setups at large radio stations, just so I can see how the big guys do it?

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Thanks in advance
Chris McDonald

[Mike]

Surely you would use two channels on your main feed (for stereo) one on the main microphone and maybe one on the guest microphones (there wouldnt be much point putting individual compression on each of these)

Im only guessing here as Ill admit Im no expert on audio processing (yet) myself

[3cx1500A7]

I'm not familar with a 4 channel comp/limiter unless you mean a 4 *band*.Use this just before transmitter or stereo encoder if using one.If your linking to a main studio where there is more processing ,then set the mobile studio processer to limit rather than compress too much.No harm in using comp/limiters on mics esp if used for interviews but the compressors *must* be entirely independent of each other.Try fast attack and slow release times on main compression.Reverb was used a lot by AM stations years ago to give a brighter louder sound but seems to be no longer in fashion.You need to allow for overshoot in the compression ,so set the TX to ,say,85% of desired modulation level.Try a gain reduction of 10-15 db on normal studio material.The principles for a large setup are identical except some use extra processing to enhance stereo etc.Consider using a DE-ESSER if theres a lot of speech content.A dedicated broadcast unit such as an Orban Optimod 8100A can make life a lot easier.