Optimod-AM 9400 V1.2 Operating Manual - Orban
Optimod-AM 9400 V1.2 Operating Manual - Orban
Optimod-AM 9400 V1.2 Operating Manual - Orban
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OPTIMOD-<strong>AM</strong> DIGITAL OPERATION 3-51<br />
Note also that it is virtually impossible to achieve undetectable dynamic<br />
noise reduction of program material that is extremely noisy to begin<br />
with, because the program never masks the noise. It is probably wiser to<br />
defeat the dynamic noise reduction with this sort of material (traffic reports<br />
from helicopters and the like) to avoid objectionable side effects.<br />
You must let your ears guide you.<br />
B3>B4 CPL (“Band 3>4 Coupling”) control determines the extent to which the gains<br />
of bands 4 (centered at 3.7 kHz) and 5 (above 3.0 kHz) are determined by and follows<br />
the gain of band 3 (centered at 1 kHz). Set towards 100% (fully coupled) this<br />
control reduces the amount of dynamic upper midrange boost, preventing unnatural<br />
upper midrange boost in light pop and instrumental formats. The gain of band 5<br />
is further affected by the B4>B5 CPL control.<br />
B4>B5 CPL (“Band 4>5 Coupling”) controls the extent to which the gain of band 5 is<br />
determined by and follows the gain of band 4.<br />
The B4>B5 CPL CONTROL determines the gain reduction in band 5. The<br />
B4>B5 CPL control receives the independent left and right band 4 gain<br />
control signals; this feed is unaffected by the band 4 MAX DELTA G / R control.<br />
Range is 0 to 100% coupling.<br />
In the <strong>AM</strong> analog chain, the B5 compressor is useful mainly as a de-esser.<br />
Used with substantial amounts of B4>B5 coupling and a fast release time,<br />
it can quickly add additional gain reduction as necessary to prevent clipping<br />
distortion on “esses.” In the HD chain, the B5 compressor is useful<br />
both as a de-esser and as a means to prevent excessive high frequency<br />
energy from being applied to a low bit rate codec, minimizing HF codec<br />
artifacts.<br />
B3>B2 CPL and B2>B3 CPL controls determine the extent to which the gains of<br />
bands 2 and 3 track each other.<br />
When combined with the other coupling controls, these controls can adjust the multiband<br />
processing to be anything from fully independent operation to quasiwideband<br />
processing.<br />
B2>B1 CPL control determines the extent to which the gain of band 1 (below 100Hz<br />
or 200Hz, depending on crossover setting) is determined by and follows the gain of<br />
band 2 (centered at 400Hz). Set towards 100% (fully coupled) it reduces the amount<br />
of dynamic bass boost, preventing unnatural bass boost in light pop and talk formats.<br />
Set towards 0% (independent), it permits frequencies below 100Hz (the<br />
“slam” region) to have maximum impact in modern rock, urban, dance, rap, and<br />
other music where bass punch is crucial.<br />
Bx Out (“Band x Output Mix”) controls determine the relative balance of the bands<br />
in the multiband compressor. Because these controls mix after the band compressors,<br />
they do not affect the compressors’ gain reductions and can be used as a<br />
graphic equalizer to fine-tune the spectral balance of the program material.<br />
Their range has been purposely limited because the only gain control element after<br />
these controls is the back-end clipping system (including the multiband clipper / distortion<br />
controller), which can produce considerable audible distortion if overdriven.<br />
The thresholds of the individual compressors have been carefully tuned to prevent