TC Electronic SYSTEM 6000 MKII Algorithm Manual Download Page 46

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MD-4

Setup

Configuration

Range: Stereo, Dual Mono, Stereo MS, Sum Mono, Left

Mono or Right Mono.

When set to Stereo, the L and R channels use the same

Delay, Trim, EQ and Multiband settings. Additionally, the L

and R sidechains of the Multiband section are linked.

When set to Dual Mono, the channels can have different

Delay, Trim, EQ, Multiband and Limit settings. The L and

R sidechains of the Multiband section are unlinked. Note A

and B labels on meters and channel selectors.

When set to Stereo MS, a stereo input is converted and

processed as M and S. Note M and S labels on meters

and channel selectors. This allows individual Trim, EQ and

Multiband processing to be applied to M and S elements of

the signal, before it’s converted back to stereo L/R at the

output. In this mode the sidechains of the Multiband section

are unlinked so M and S elements can be processed

completely independently.

When set to Sum Mono, a 2 channel or stereo input is

summed with the levels set on the Main page Trims,

at a relative phase of 0 degrees (normal mono) and 48

bit resolution. The summed signal can have different

processing applied through the use of EQ, Multiband

processing and Limiting. Note A and B labels on meters

and channel selectors.

L Mono and R Mono provide modes where only one of the

input channels is passed to both outputs. The one signal

can have different processing applied through the use

of EQ, Multiband processing and Limiting. Note A and B

labels on meters and channel selectors.

The Configuration control affects the routing and

sidechain linking of the 5-band section. Linking of

the Limiter is unaffected by the Configuration, but is

independently set on the Limit page.

Reference Level

Range: -24 to 0dBFS

This control provides an absolute Reference Level for the

Threshold settings in the Multiband section. Therefore, it is

the level at which the Compressor starts operating when

its threshold is set to 0 dB, see level diagram. When the 5

Band mode is set to DXP, Reference Level is the level at

which the bands hit unity gain, regardless of their Steer

and Threshold settings. See level diagram.

For use in broadcast and film production, normal Reference

Level settings would be -18 dBFS in some countries,

and - 20 dBFS in others. For mastering towards a Full

Scale delivery, a setting between -14 (wide dynamic range

output) and -6 dBFS (low dynamic range) would be

more typical.

If you’re working with analog inputs or outputs,

remember to scale the converters to match the

surrounding equipment. Level in the Engines of

System 6000 are always expressed in absolute

digital level, dBFS. Go to the Frame-I/O-Slot pages to

check the analog settings. Examples: If Level In and Level

Out are set at 18 dBu, a Reference

Level at -20 dBFS will be reached at an analog level of -2

dBu. If Level In and Level Out are set at 24 dBu, the same

Reference Level setting will be reached at +4 dBu.

When mastering with DXP mode, start with a

Reference Level around -8 dBFS. This will ensure

that loud parts are not subjected to excessive gain

and therefore limiting. When all other parameters

have been adjusted to complement the material, try

altering the Reference Level up and down a couple

of dB to set the optimum average/peak ratio of that

particular piece of material.

5 band

Mode

Range: This is a powerful control that changes between

three different ways of using MD4. Please familiarize

yourself with the virtues of each individual mode.

Normal mode

The Normal mode is a standard, five-band, downward

compressor, where material over a certain Threshold will

be more and more affected by the compressor, finally to

be limited when a second threshold is exceeded. Preset

examples can be found in Engine Factory Bank 10, decade

4. MD4’s 48 bit architecture can deliver subtle compression

individually applied to different frequency bands and/or

different positions of a stereo image.

Used on single sources, Normal Mode can be used to

punch up a kick or a snare drum by using a fairly long

attack and fairly fast release time. The attack time and the

amount of compression can have a big effect on how well

the signal is handled by small speakers (ghettoblasters,

car-fi, bookshelf enclosures etc).

Normal mode may be used with good results on other pop/

rock sources for compression and spectral control, for

instance with vocal, sax, guitar, bass etc.

The Threshold of the 5-band downward compressor

in Normal Mode is set on the 5Band page, and

relative to Reference Level on the Setup page. If

Reference Level is set at -8.0 dBFS, and the

Threshold of a particular band is set at -6.0 dB, the

absolute Threshold of that band will be -14.0 dBFS.

Parallel mode

The Parallel Mode is a true, five-band upward compressor,

where material above a certain Threshold is less and less

affected by the Compressor. Preset examples can be found

in Engine Factory Bank 10, decade 4.

On analog consoles, parallel channels are often employed

to help control low level aspects of, for instance, vocal or

bass. MD-4 allows using the same technique in the digital

domain, where the “dry” part of the signal is always delay

compensated with the same amount as the look-ahead

Summary of Contents for SYSTEM 6000 MKII

Page 1: ...Algorithm manual English ...

Page 2: ......

Page 3: ...r 81 EQ 5 1 83 Massenburg EQ 86 VP 2 Stereo 89 VP 8 91 Chorus 1 93 Phaser 1 94 Delay 1 95 Delay 2 96 Reflector 6 Reflector LCR 98 Backdrop 102 Backdrop Tutorial 106 LM6 109 Matrix 88 120 Table Of Contents Prod No 606147011 Rev 1 Please note We reserve the rights to change the contents of this manual at any time The latest manual revision can always be downloaded from www tcelectronic com If you ne...

Page 4: ...gorithms To best comply with the channel allocation used by most digital AES format equipment the Input Output channels on surround algorithms are allocated as follows 1 Left 2 Right 3 Center 4 LFE 5 Left Surround 6 Right Surround These channel allocations comply with the following standards ITU Recommendation ITU R BR 1384 Parameters for International Exchange of Multichannel Sound Recordings 199...

Page 5: ...present an identical position to the final listener or you have run out of aux sends When it is desirable to distinguish between single elements sharing more or less the same panning position source based reverb should be a first choice Subtle discrimination between reflection patterns of individual sources can make all the difference in the world when it comes to obtaining depth expression and na...

Page 6: ... Reverb Type Rev 3 Stereo Stereo Generic VSS 3 1 Source Stereo Source VSS 3 SR 1 Source LtRt Source NonLin 2 Mono Stereo Generic DVR 2 Mono Quad Generic VSS 4 2 Sources Stereo Source VSS 5 1 Source 4 Sources 5 1 Source VSS 6 1 Reverb 5 1 or 6 1 5 1 or 6 1 Generic VSS M4 4 x Mono 4x Mono Generic ...

Page 7: ...how long after the dry sound the Early Reflections and the diffuse field will begin Hi Cut Range 20 to 20kHz Rolls off the top end as it enters the Reverb Used in conjunction with Hi Soften and Hi Decay to darken a room Hi Decay Sets the Decay time for the High end frequencies of the Reverb diffuse field Levels Rev Level Range 100dB to 0dB The Output level of the diffuse field part of the algorith...

Page 8: ...evel turned all the way off and the Rev Level all the way up Change the type to get a feel of what each one sounds like Rev Width Range Wide Stereo Center or Mono With this parameter you can change the width of the diffuse field The Mono setting is where the left and right Reverb Tails are completely identical the Center setting opens a bit up in the middle Stereo is the normal stereo image width ...

Page 9: ...rameter is normally set to 1 0 as it is the main parameter adjusted by the main Decay parameter This mid range decay control would normally be omitted however TC Engineers felt you could use this parameter as a fine adjustment tool to tweak a preset to sound just right without having to adjust the master Decay parameter Hi Xover Range 500Hz to 20kHz Sets the frequency at which the transition from ...

Page 10: ...e 0 01 to 20s Changes the Decay time of the stereo information in the signal Rear Delay Range 0 to 200ms Changes the Reverb Feed Delay time of the Rear Surround information in the signal Pre Delay Range 0 to 100ms A delay placed at the Input of the algorithm This parameter specifies the time between the source material and the beginning of the Early Reflections Levels Front Level Range Off to 0dB ...

Page 11: ... Reflections Allows you to offset the Early Reflections from the normal center position Reverb Rev Type Range Smooth Natural Metal Fast Fast WD Adjust this parameter with the Early Lev turned all the way off and the Rev Lev all the way up Change the type to get a feel of what each one sounds like Rev Width Range Center Stereo or Wide Three modes of perceived width of the Diffused field Lo Cut Rang...

Page 12: ...ies Hi Xover Range 500Hz to 20kHz Sets the frequency at which the transition from the mid frequencies to the high frequencies takes place Hi Decay Range 0 01 to 2 5 Multiplier for the frequencies above the Hi Xover frequency Example If the main Decay parameter is set to 2 0 sec and the Hi Decay parameter is set to 1 5 frequencies above the Hi Xover will decay for 3 0 sec Conversely if this paramet...

Page 13: ...b Diffuse Field Reverb Size Range 0 to 15 Adjusts the overall perceived size of the Diffuse Field part of the algorithm Generally you would attempt to define the perceived room size by altering the Decay time However with the Size parameter you can achieve a similar perceived alteration of the room size while keeping the Decay time The default value is meant as the size that the specific Location ...

Page 14: ... than 0 Levels Instead of a mix parameter controlling the wet dry signal balance three individual levels are available Overall Input and Output levels are placed at the Setup page Reverb Level Range Off to 0dB Adjust the level of the Diffuse Field reflections Early Level Range Off to 0dB Adjust the level of the Early Reflections from the two sources Dry Level Range Off to 0dB Attenuates the Dry si...

Page 15: ...the Master Decay is 2 0 seconds the resulting decay time will be 2 5 seconds HiMid Decay Decay multiplier in relation to the Master Decay for the frequencies above the Mid Xover and below the Hi Xover settings Example When a Decay multiplier is set to 1 25 and the Master Decay is 2 0 seconds the resulting decay time will be 2 5 seconds Hi Decay Decay multiplier in relation to the Master Decay for ...

Page 16: ...ndle The same applies for the Pre Delay and HI Decay parameters Introduction Multiple mono reverbs may often be more useful than pre configured structures for stereo 5 1 6 1 etc The M4 algorithm offers 4 discrete mono reverbs with 4 in and 4 out in one Engine M4 reverbs can be used in multiple mono configurations where the effect has to end up in predictable places or combined to cover arbitrary m...

Page 17: ...rb Master Decay Reverb 1 to 4 Range 0 1 to 20s Individual Decay parameters of the four reverbs This parameter is also available on the Main page Reverb Diffuse Range 50 to 50 This parameter offsets the diffusion away from what is considered optimum for a given Decay time Build Range Fast Slow Selects the speed of the build up ie attack of the reverb Reverb Type Reverb 1 to 4 Select between differe...

Page 18: ...ecay multiplier is set at 1 25 and the Master Decay is 2 0 sec the resulting decay time will be 2 5 seconds HiMid Decay Range 0 01 to 2 5 Decay multiplier related to Master Decay for frequencies above the Mid Xover setting Example When a Decay multiplier is set at 1 25 and the Master Decay is 2 0 sec the resulting decay time will be 2 5 seconds Hi Decay Range 0 01 to 2 5 Decay multiplier related t...

Page 19: ... source of a mix Main Page Pre Delay Range 0 500ms Pre Delay offsets the Output and timing of the Envelope Generator It is typically used to obtain depth and definition in a mix or align the effect with a musical beat Delays in the 10 40 ms range can be considered for percussive sounds while dense vocal slap effects could use 70 150 ms of Pre Delay Attack Range 0 500ms Sets the Attack time build u...

Page 20: ...tput Stereo Width 0 denotes mono while 100 is max width The perceived width of the effect is also affected by the Reverb Style and Diffuse parameters Width difference between Styles is most obvious at low Diffuse Ratios Levels page In Level Range Off 0dB Adjusts the input level If radical Style and Twist settings are used or full scale Input signals it may be necessary to adjust the Input level sl...

Page 21: ...ds of hours spent listening and measuring User The four basic parameters of the EMT250 were carefully laid out offering a remarkably simple user interface with complex yet optimized interactions under the hood DVR 2 is a resemblance of that including range and coarseness of parameters Also the original I O structure is kept with Mono in to Stereo and Quad out Better than the Classic While DVR 2 in...

Page 22: ...creen Advanced Enable Press to enable disable the Advanced Mode You can always go back to Normal Mode by pressing Enable again Advanced mode settings are kept and you can actually toggle between the two sets of settings for comparing Low Res Switches the DVR 2 to a lower bit resolution This adds an older and more grainy sound and also noise giving a simulation of various vintage reverbs Input Tran...

Page 23: ...Double Sample Rate 3 4 DSP Resource Algorithm Inputs Outputs are distributed as follows E1 E4 S1 S2 S3 S4 L R C SL SR INPUT OUTPUT Main Page At the Main Master page overall parameters working on the complete algorithm are available Individual parameters for each of the four Early Reflection generators and five Reverb Diffuse fields are also available They are placed on the following sub pages Mast...

Page 24: ...on Left and Right front speaker Center Channel Range Off On Phantom On This parameter enables on off setting of the Center speaker in the two multi channel setups The Phantom setting is a patent pending feature that makes the Center speaker integrate with the Left Right front speakers more properly than a standard configuration Global Level Options Kill Dry Range On Off When set to on no dry signa...

Page 25: ...ge limit will be less than 100 if the Early Stop parameter is set to anything other than 0 Early Stop Range 100 to 0 Removes taps in the Early Reflection pattern from the end of the pattern The parameter range limit will be less than 100 if the Early Start parameter is set to anything other than 0 Reverb Position Enables to emphasize or change the Source position origin in the Reverb part of the a...

Page 26: ...ual Decay time of the five channels we use multipliers By using different multiplier settings for each of the 5 channels the Decay time for each channel can be controlled Example If the Master Decay parameter is set to 2 0sec and e g the LFr parameter is set to 1 5 the actual Decay time for the LFr channel will be 3 0 sec 1 5 x 2 0 Conversely if this parameter is set to 0 5 the Decay time for that...

Page 27: ...phone already has picked up Choose Your Verb Make sure to read the Reverb Intro in this manual about distinguishing between Generic and Source Reverb types VSS 6 1 is a Generic type It takes in a complete multichannel mix or stem and adds complex Early Reflections as well as uncorrelated diffused response to the signal VSS 6 1 is the first professional reverb to acknowledge the advantages of 6 1 r...

Page 28: ... to 0dB Master wet level control Early Reflections Diffuse Field of the Left and Right surround channels Center Surround Level Range Off to 0dB Master wet level control Early Reflections Diffuse Field of the Center surround channel Setup Location Location Location Type Select between different Locations Both the Early Reflection and Diffuse Field characteristics are changed when switching Location...

Page 29: ...a special filter used to soften the Reverb response This is not a Hi Cut but a complex and dynamic set of filters for a particular purpose Hi Soften is automatically scaled with Hi Cut and Hi Decay Decay Crossover Lo Decay Range 0 01 to 2 5 Decay multiplier in relation to the Master Decay for frequencies below the Lo Xover setting Example When a Decay multiplier is set to 1 25 and the Master Decay...

Page 30: ...n the Left and Right Surround multiplier settings Gloss Reverb Modulation Modulation Type Range Off Default Front Rear Front Rear Subtle Front Rear Diffuse Left Right Clockwise Center Clockwise Chaos or Sync Select between different types of Modulation on the diffused response Mod Rate Range 50 to 50 Offsets the speed of the modulation away from its default Mod Depth Range 0 to 200 Offsets the Dep...

Page 31: ...t Level and Surround Level are set at 0 dB there is no reduction of Early Reflection level in either zone Early Start Range 0 100 Adjusting the Start time is an efficient way of getting rid of the first reflections that normally color the source the most By adjusting the Start time the first reflections are discarded but the timing of the later reflections remain unchanged Therefore this adjustmen...

Page 32: ...roll determined by Hi Cut Freq Levels Early Level Range 100dB to 0dB The Output level of the Early Reflections When Early Level is set to off the Reverb effect will consist entirely of Reverb diffuse field Reverb Level Range off to 0 0dB Sets the level of the reflection envelope relative to the Early Reflections in 0 5dB steps If Reverb Level is set to off you will hear the initial reflections onl...

Page 33: ...o Reverb The effect from the left and the right channel will be generated totally independent This is ideal for working with Dolby surround or for broadcasting in general where mono compatibility is important The feature is also especially applicable for the film industry and post production suites ER Diffuse Range 0 to 100 Simulation of reflections in the room hitting more or less uneven surfaces...

Page 34: ...very short distances the Early Reflections interact with the direct signal creating chorus like colorations just as in real rooms with strong low order reflections Diffuse Range 1 to 9 The Diffuse parameter simulates when the reflections in the room hit more or less uneven surfaces With smooth walls low diffusion takes place Walls that are uneven with many angles pockets or with dedicated diffuser...

Page 35: ...ime multiplier for the high frequencies Hi Xover Range 2 00kHz to flat Sets the crossover frequency for the x Hi Decay time multiplier in 1 3 octave steps Modulation Rate Range 1 to 200 The Modulation Rate varies the rate of modulation of the recirculating delay paths simulating the Reverb Tail The control has no effect at a 0 setting Adding modulation to the Reverb has the effect of smoothing out...

Page 36: ...e apparent position and to some degree the size of the room Reverb Delay Range 0 to 100ms Delay time on the Reverb Tail only Where the Pre Delay parameter sets the Delay time on the entire algorithm Early Reflections as well as Reverb Tail the Reverb Delay parameter works on the Reverb Tail only Hi Cut Freq Range 500Hz to flat Hi Cut filter shelving type Provides an overall Reverb high frequency r...

Page 37: ...hich the transition from the low to the low mid frequencies takes place Hi Decay Range 0 01 to 2 0 times Multiplier for the high frequencies If Hi Decay is set to 0 5 the Hi Decay time is half that of the nominal Decay setting Hi Xover Range 20Hz to flat Sets the frequency at which the transition from the mid frequencies to the high frequencies takes place Width Range 0 to 100 Sets the apparent st...

Page 38: ...amples above the threshold set MD 3 is offered as an option via license Please read the appendix describing license options and how to obtain codes The MD 3 will run at Sample Rates 32 44 1 48 88 2 or 96kHz Signal flow through the algorithm Main page Inlevel Left and Inlevel Right Range Off to 0dB 40dB in 3dB steps 40dB in 0 5dB steps Sets the Input level for the two Input channels Input Mode Rang...

Page 39: ...between RMS and Peak are number of dBs needed for a peak value to override RMS measurement and can be perceived as a Threshold setting Example If the Crest parameter is set to 6dB the Compressor will respond to RMS values and to peaks 6dB higher than the current RMS value Auto Gain Range Off On Switches the Automatic Make up gain on or off for the Compressor bands When set to on the gain for each ...

Page 40: ...g to Threshold and Ratio settings When set to off no automatic gain adjustments are performed Nominal Delay Range 0 to 15ms 2ms in 0 1ms steps 2ms in 0 5 ms steps Sets the nominal Delay of the signal compared to the Sidechain signal This is also known as Look ahead delay enabling the compressor section to become more responsive to the incoming signal thereby performing a more precise compression E...

Page 41: ...Parametric Shelve and Cut type Lo Gain 12dB to 12dB Mid1 Gain 12dB to 12dB Mid2 Gain 12dB to 12dB Hi Gain 12dB to 12dB Range for the Notch filter Lo Gain 100dB to 0dB Mid1 Gain 100dB to 0dB Mid2 Gain 100dB to 0dB Hi Gain 100dB to 0dB Type Press and use Faders 1 4 to set BW value for each of the 4 EQ bands Range for the Notch filter Lo BW 0 02oct to 1oct Mid1 BW 0 02oct to 1oct Mid2 BW 0 02oct to 1...

Page 42: ...hold with a Ratio set to 1 3 the actual attenuation will be 3dB Attack Range 0 3 to 100ms Exponential The Attack time is the time the Expander uses to generate the gain reduction specified by the Ratio parameter Release Range 20ms to 7sec Exponential The time it takes for the Expander to release its attenuation of the signal when the signal exceeds the Threshold Meter Zoom Press to zoom on the ran...

Page 43: ...pressor the Gain controls in the Compressor pages are used as additional gain controls on the individual bands Ratio Range Off to Infinity Specifies the Ratio of the performed compression Example With a Ratio setting of 2 1 the compressor will reduce every 2dB above the Threshold point to only 1dB Attack Range 0 3 to 100ms The Attack time is the time the Compressor uses to reach the gain reduction...

Page 44: ...on associated with an over Trim Levels Trim L Range 0 to 12dB in 0 1dB steps Left channel Output level trim after the Compressor and Output mode parameter M S and before the Limiter section Trim R Range 0 to 12dB in 0 1dB steps Right channel Output level trim after the Compressor and Output mode parameter M S and before the Limiter section Output Fader Output Fader Range Off to 0dB 40dB in 3dB ste...

Page 45: ...ess Trim offers the same Drive approach to level and Threshold used in classic analog Limiters Unlike analog designs MD4 s 48 bit internal resolution prevents resolution and signal noise ratio from being sacrificed because the processing dynamic range is larger than even the highest resolution Input would be Setup Page Introduction Multiband processor featuring newly developed DXP processing that ...

Page 46: ...ers to match the surrounding equipment Level in the Engines of System 6000 are always expressed in absolute digital level dBFS Go to the Frame I O Slot pages to check the analog settings Examples If Level In and Level Out are set at 18 dBu a Reference Level at 20 dBFS will be reached at an analog level of 2 dBu If Level In and Level Out are set at 24 dBu the same Reference Level setting will be re...

Page 47: ...arallel mode resolution of DXP mode is 48 bit fixed point to maintain a processing margin over the source material From a users point of view this mode introduces a new parameter on each band Steer instead of Threshold Steer determines the slope and boost of that particular band as shown in the level diagram Bands hit unity gain 0 dB gain at the Reference Level so low level boosting only takes pla...

Page 48: ...or instance specify a boost of 3 dB at 28 kHz even though the machine may be operating at a sample rate of 44 1 kHz What this means is that the part of the 3 dB boost falling inside the current pass band 0 to 22 5 kHz will be applied Therefore with the above example changing the bandwidth of the 28 kHz boost will result in a noticeable difference Note that MS Configuration provides individual equa...

Page 49: ...low the Reference level and reaches its max at Threshold The more Steer the more audio is steered towards Ref Level MD4 features different Steer in all 5 bands if so desired For more information about this parameter see the previous description of DXP Mode Limiter Page Brickwall Limiter To exploit MD4 s 48 bit signal path the output includes a Brickwall 2 Limiter with upsampling and selectable ada...

Page 50: ...the two channels Limiter linking is independent of the Configuration parameter on the Setup page If heavy limiting action is performed the stereo image may be greatly affected if L and R channels are not linked Fader Range Off to 0 dB Output control s for L R or A and B channels ...

Page 51: ... extensive inter channel linking possibilities and is well suited for both music and film material The ingenious topology of System 6000 allows for low latency processing below 0 5 ms equivalent to moving a microphone approximately 16 cm or 6 inches which makes MDX5 1 advantageous even for live or theatrical applications On the Main page MDX5 1 features Input Gain controls for the Main Channels an...

Page 52: ... gain Fig 3 Example of MDX5 1 Gain Meter The meter shows max low level gain and spectral response plus current gain and spectral response In the example the Low band is currently attenuated by 2 dB while Mid and Hi bands are at unity gain 0 dB User Tips At the beginning of a session it can save time to set an appropriate difference between the Ref Level parameter and the Limit Threshold Wide dynam...

Page 53: ...he L R Front and L R Surround curves are examples of channels with no spectral shaping Tip To produce multiple mastering versions from the same source material start doing the one for the highest resolution Lower resolution versions can be achieved by adjusting the Limit Threshold to comply with the alternative delivery format then adjusting the Ref Level to optimize results under the new restrict...

Page 54: ...t Level parameter is set to Off The Defeat threshold is relative to DXP Band Thresholds which are relative to Reference Level Example If Reference Level is set at 20 dBFS Band Thresholds at 15 dB and DXP Defeat at 22 dB low level boost starts rolling off at 47 dBFS See example at page 18 Crest Range Peak 6dB 10dB 12dB 14dB 16dB 20dB 24dB RMS Select compression method between RMS and PEAK The dB st...

Page 55: ...ny or none of three Sidechains to control each of the main channels This also gives you the option of grouping the channels In addition to this the LFE channel has its own Sidechain control This enables e g setting up two MDX5 1 algorithms in serial setup while having six individual Sidechains available enabling fully individual Sidechain controls of all channels At the Feed page it is possible to...

Page 56: ...ay DXP All The All page gives and excellent overview of the three SideChain parameters The All parameter grabs the Sidechain Mid value and changes the Lo and Hi settings relative to this value The Sidechain All Threshold Gain and Steer all parameter is also per default assigned to Fader 4 on the Sidechain pages Bypass DXP Bypass function for the entire DXP processing section Limit Soft Clip SoftCl...

Page 57: ...miter Threshold It can be used to hide overloads to downstream equipment but it does not remove the distortion associated with an over Bypass Press to bypass the algorithm Output Trim Levels Output trims Range 0dB to 12dB in 0 1dB steps Level trim of the Output channels Only the fader is placed after these trims These parameters can be used to trim the levels of the monitoring system but please no...

Page 58: ...nd LSr Engine channel 6 Right Surround RSr Engine channel 7 External Sidechain input Xt1 no Output available In the following the parameters in MD 5 1 will be explained For further information regarding Mastering and multiband dynamics processing please see the In Depth Information chapter in this manual The MD 5 1 algorithm occupies Normal Sample Rate 1 4 DSP Resource Double Sample Rate 2 4 DSP R...

Page 59: ... of grouping the channels In addition to this the LFE channel has its own Sidechain control This enables e g setting up two MD 5 1 algorithms in serial setup while having six individual Sidechains available enabling fully individual Sidechain controls of all channels At the Feed page it is possible to make additional Sidechain link Inputs for e g having the Center channel contributing to the Sidec...

Page 60: ...e Off to Infinity Sets the Expansion Ratio below the Threshold point Release Range 20ms to 7sec Sets the time it takes for the Expander to release its attenuation of the signal when the signal exceeds the Threshold again Attack Range 0 3 to 100ms Sets the time it takes for the Expander to reach the attenuation specified by the Ratio parameter when the signal drops below the Threshold point Meter Z...

Page 61: ...nd Ratio parameters Ratio Range Off to Infinity Sets the Compression Ratio that must be performed above the Threshold point Attack parameters Range 0 3 to 100ms Sets the time the Compressor takes to reach the attenuation specified by the Ratio parameter when the level exceeds the Threshold point Release parameters Range 20ms to 7sec Sets the time the Compressor takes to release the attenuation of ...

Page 62: ... on each Output meter indicates when Limiter is active Release Range 0 01 to 1 00 seconds Release time for the Limiter Ceiling Range 0 10dB to 0dB Fine tuning parameter setting the Ceiling for the Limiter The Ceiling parameter prevents the Output signal from exceeding the adjusted Limiter Threshold It can be used to hide overloads to downstream equipment but it does not remove the distortion assoc...

Page 63: ...h Output channel Output Fader Range Off to 0dB 40dB in 3dB steps 40 in 0 5dB steps Output fader for all 6 Outputs Can be controlled with the optional TC Master Fader connected to the GPI Input Compare Easy switchable On Off compare function for the entire MD 5 1 algorithm This is not a bypass function as you are able to set a Compare Level see below Compare Level Range 20 to 0dB This function allo...

Page 64: ...n at 0 5 dBFS We recommend using the BrickWall limiter in Upsample mode However if you wish to just limit the signal based on sample by sample values like a normal digital limiter the function can be turned off When turned off the limiter does not protect against 0dBFS peaks from occurring Limiter Time constants Limiter Time constants Another important feature of Brickwall 2 is its adaptive time c...

Page 65: ...ing broadcast and post production can be found in Engine Factory Bank 10 decade 2 Look ahead Delay Latency To control peaks more precisely and minimize transient distortion Brickwall 2 inserts a short delay into the signalpath The delay amounts to approximately 0 8 ms at all sample rates 37 samples at 44 1 kHz 39 samples at 48 kHz 64 samples at 88 2 kHz and 69 samples at 96 kHz Delay times given r...

Page 66: ...o give an indication of potential downstream distortion problems at the input as well as the output See the Threshold description for more information Adaptive Many different objectives exist when it comes to peak limiting audio From taking care of a few peaks in a gentle way to pushing up the average peak ratio in order to raise the apparent loudness for voice cut through or a dozen other reasons...

Page 67: ...er displayed in milliseconds or Frames Delay Fine Left and Right Additional Delay to the course parameter setting adjusted in Samples The Samples delay will vary in time depending on the sample rate Delay Unit Switches the displayed Delay value between milliseconds ms and Frames Phase Invert Left and Right Pressing the Phase Inv buttons performs a 180 degrees phase shift on the respective Input ch...

Page 68: ... 6 channels The default setting is Unmuted Solo When a Solo button is selected the Inputs of all the five remaining channels will be set to Off but they can be selected as additional solo channels Outputs Mute Range Muted Unmuted Sets the Mute status on the Output for each of the 6 channels Solo When a Solo button is selected the Outputs of all the five remaining channels will be set to Off but th...

Page 69: ... channels Output format Stereo The Limiter operates as a Stereo Limiter on Left and Right front channels Output format Mono The Limiter operates on the Mono sum Output Threshold Range 12 to 0dB Limiter Threshold level for the two limiters available The Limiters will be placed at LFr RFr Outputs when Stereo or Mono mode is selected as Output formats and at LSr RSr when LCRS is selected as Output fo...

Page 70: ... Via the parameters L Front Center R Front L Surround LFE and R Surround it is possible to either feed the main channels with signal from the LFE channel feed the LFE channel with signal from the Main Channels L Front Center R Front L Surround LFE R Surround Range 100 0dBFS 100 40dB in 3dB steps 40 0dB in 0 5dB steps Main Channels To LFE Extract mode In this mode the Level controls are used to ext...

Page 71: ... to Sine Default 1kHz Output Level Output Level RMS Range 60 0dBFS 60 6dB in 1dB steps 6 0dB in 0 1dB steps Sets the level of the selected generator to all six Output channels Default 20dBFS LFE Trim Range 12 0dB in 0 1dB steps Attenuates the LFE Output channel relative to the main test generator level Thru Thru channels are hardwired without any adjustment options Utilizing Thru Channels 7 and 8 ...

Page 72: ... C SL SR INPUT OUTPUT Main Page S1 to S8 Select buttons for each of the 8 sources Press to access the parameters for each of the 8 sources Source 1 8 In level Range 100 to 0dB Adjusts the Input level of the selected source Focus and Bleed parameters As these parameters highly affect each other you should understand the functionality of both Please read the following few lines Focus Range 0 to 100 ...

Page 73: ... conditions When you need dynamic range conditioning of the 5 1 signal before format conversion through Engage When you need peak limiting of the Engaged mix When you need pristine 5 1 Ambience or Room Simulation because of the confined headphone environment When you wish to compare 5 1 down mixed to normal stereo against 5 1 down mixed using Engage When you need special treatment of the LFE chann...

Page 74: ...ange Off to 0dB Output level control of the Right channel Limiter Brickwall type Limiter LED on each Output meter indicates when limiter is active Threshold Range 12dB to 0dB Sets the Threshold point of the Limiter Threshold is relative to 0dBFS Release Range 10ms to 1000ms Release time for the Limiter ...

Page 75: ...stereo and LtRt program material typically dealt with in broadcast film production and music mastering Presets are located in Factory Bank F11 decade 3 6 UnWrap and UnWrap HD The original algorithm was called UnWrap while the latest version with more dialog and envelopment extraction functions is named UnWrap HD Presets generated with the original UnWrap application can be read using UnWrap HD and...

Page 76: ...rovided to carefully match the L R balance If working from analog tape adjust balance with a 1kHz calibration tone If working from a digital master with stereo levels at full scale it may be necessary to adjust down Input levels a little bit to avoid UnWrap HD overloads The L R Processing parameter determines how much the L and R front channels are processed At 0 UnWrap HD only adds sound to the 4...

Page 77: ... have more Center channel focus than presets targeted music and effects New UnWrap HD presets targeted Voice Over applications for Post Production are located in Factory Bank F11 6 These presets feature up conversion without the Center speaker requested by post engineers who need to reserve the Center speaker for dialog Note dedicated music and effects presets For more information about particular...

Page 78: ...0Hz to 20kHz Gain Press Gain and use Faders 1 4 to adjust gain for each of the four EQ bands Range for the Parametric Shelve and Cut type Lo Gain 12dB to 12dB Mid1 Gain 12dB to 12dB Mid2 Gain 12dB to 12dB Hi Gain 12dB to 12dB Range for the Notch filter Lo Gain 100dB to 0dB Mid1 Gain 100dB to 0dB Mid2 Gain 100dB to 0dB Hi Gain 100dB to 0dB Type Press and use Faders 1 4 to set BW value for each of t...

Page 79: ...r the Parametric Shelve and Cut type Lo Gain 12dB to 12dB Mid1 Gain 12dB to 12dB Mid2 Gain 12dB to 12dB Hi Gain 12dB to 12dB Range for the Notch filter Lo Gain 100dB to 0dB Mid1 Gain 100dB to 0dB Mid2 Gain 100dB to 0dB Hi Gain 100dB to 0dB Type Press and use Faders 1 4 to set BW value for each of the 4 EQ bands Range for the Notch filter Lo BW 0 02oct to 1oct Mid1 BW 0 02oct to 1oct Mid2 BW 0 02oc...

Page 80: ...ed the Outputs of all the five remaining channels will be set to Off but they can be selected as additional solo channels Output Levels Range 120 to 12dB Individual Output levels for the six Output channels Fader Range 120 to 0dB Fades all six Outputs simultaneously Preserves the individual Output levels until either the max or min value is reached ...

Page 81: ... bandwidth or Lo Hi shelf setting of the range the DeEsser will work in Side Chain Pressing Sidechain enables to monitor the part of the signal that is defined by the Frequency and Curve parameters This is the part of the signal that the DeEsser will compress when in operation Adjusting the Frequency and Curve parameters when monitoring the sidechain makes it a lot easier to hear where the sibilan...

Page 82: ...g rate to both channels and the parameters on the Main page will be linked M S When activated the DeEsser will operate internally in Mid and Side mode An M S encoder is placed on the Input and an M S decoder is placed on the output This way it is possible to input a L R stereo signal apply deessing to the mono and side information separately and output a new L R stereo signal ...

Page 83: ...t of handles The LFE channel however is still treated separately Bypass Mute Bypass and Mute function for each of the 6 channels Levels Page Input Levels Range 100 to 0dB Input level control for each of the 6 channels Output Range 100 to 0dB Output level control for each of the 6 channels Front Center Surr LFE pages Press Front Center Surr or LFE side fane to access parameters for each of the chan...

Page 84: ...tterworth type Freq Press Freq and use Faders 1 to 4 to adjust frequence for each of the four bands Range Lo band 20Hz to 20kHz Range Mid1 band 20Hz to 20kHz Range Mid2 band 20Hz to 20kHz Range Hi band 20Hz to 40kHz Gain Press Gain and use Faders 1 4 to adjust gain for each of the four EQ bands Range for the Parametric Shelve and Cut type Lo Gain 12dB to 12dB Mid1 Gain 12dB to 12dB Mid2 Gain 12dB ...

Page 85: ...oct to 1oct Hi BW 0 02oct to 1oct Range for the Parametric filter Lo BW 0 1oct to 4oct Mid1 BW 0 1oct to 4oct Mid2 BW 0 1oct to 4oct Hi BW 0 1oct to 4oct Range for the Shelve filter Lo BW 3dB oct to 12dB oct Hi BW 3dB oct to 12dB oct Range for the Cut filter Lo BW Bessel or Butterworth Hi BW Bessel or Butterworth Bandwidth Q Key Values BW Q 0 5 2 87 0 7 2 04 1 0 1 41 ...

Page 86: ...nd is capable of cut boost over a 25 dB range Channel Linking and operational Hints In the 2 channel version equalization of stereo material should initially be performed in Absolute link mode i e changes applied to Left channel will also be applied to Right If it is indicated to make different adjustments to L and R the link is released until the desired differences have been established Now a Re...

Page 87: ... six channel numbers when changing the parameter E g if all six channels are assigned to Link group A this parameter will not have any further steps to select between Note It is only possible to select between channels channel groups on the EQ page Reset Resets the Gain values for all bands Flat Note Because the cut filters do not have a Gain value they are not reset with this function Switch off ...

Page 88: ...s from Right channel to Left channel 6 channel version At the Main page an Enable Linking button is present When activated it is possible to assign any of the six channels to one of three Link Groups Link A B or C When linking channels the settings from the lowest channel number will be copied into the higher numbered channels The Link groups will then be selectable with the Channel select button ...

Page 89: ... amount should be displayed in cent or semitones Factor Adjust Range 1 10 or 100 The Factor parameter is a multiplier factor for the Adjust handles Use the Adjust handles to fine tune the transpose value Pitch Splicing The Splicing parameters are used to optimize how the pitch brains compute the splice points If very short Delay times are used audio quality trade offs must be expected Max Delay Le...

Page 90: ...ignal from the algorithm s left Output fed back to the right Input of the algorithm Cross R to L Range 0 to 100 The percentage of processed signal from the algorithm s right Output fed back to the left Input of the algorithm Pitch Splicing Illustration Effect To the processed signal a few effects can be added within the Pitch algorithm Effect Mode Range On Off Enables disables the Effect mode Dela...

Page 91: ...ecific channel names For 5 1 transposing or Doppler shifting of non music content the recommended assignment is 1 L 2 R 3 Center 4 n a 5 SL 6 SR 7 LFE 8 n a For 5 1 transposing or Doppler shifting of music material the recommended assignment is 1 L 2 R 3 Center 4 LFE 5 SL 6 SR 7 n a 8 n a The VP 8 Stereo algorithm occupies Normal Sample Rate 2 4 DSP Resource Double Sample Rate Not available Algori...

Page 92: ...nes or This does not affect the performance of the algorithm Pitch Pitch Pitch 1 4 and Pitch 5 8 Range 200cent Sets the transpose values respectively for the two channel groups Press the parameter and use fader six or use the Factor Adjust keys Factor Adjust Range 1 10 or 100 The Factor parameter is a multiplier factor for the Adjust handles Use the Adjust handles to fine tune the transpose value ...

Page 93: ... remove low frequencies from the feedback loop Feedback Hi Cut Range 1 kHz to off Feedback Hi Cut enables you to remove high frequencies from the feedback loop Delay Delay Range 1 to 670ms A Chorus is basically a Delay being modulated by an LFO The Delay parameter controls the length of this Delay A typical Chorus uses Delays of approx 10ms Hi Cut Freq Range 100Hz to flat Hi Cut filter enables you...

Page 94: ...ser should operate Out Level Range 100 to 0dB Controls the Output level of the Phaser algorithm In Level Range 100 to 0dB Adjusts the Input level of the algorithm Mix Range 0 to 100 Mixes between direct sound and phaser sound The Phaser algorithm occupies Normal Sample Rate 1 4 DSP Resource Double Sample Rate 1 4 DSP Resource Algorithm Inputs Outputs are distributed as follows E1 E4 L R L R INPUT ...

Page 95: ...ble stereo echo effects The control is common for left and right but the signals are processed individually FB Lo Cut Range Off to 800Hz Common Lo Cut filter control for left and right feedback FB Hi Cut Range 1kHz to off Common Hi Cut filter control for left and right feedback Levels In Level Range 100 to 0dB Controls the Input level of the algorithm Out Level Range 100 to 0dB Controls the Output...

Page 96: ... 6dB per octave that is well suited to make the Delay effect sound warmer Hi Cut Att Range 40 to 0 0dB The attenuation control sets the amount of high frequency roll off determined by the Hi Cut parameter in 0 5dB steps This M5000 algorithm is a 24 bit true stereo effect offering Delays of up to 2 5 sec in each channel with two filtered feedback controls per channel self feedback and x feedback De...

Page 97: ...Input XFB 2 1 Range 100 to 100 The percent of crossfeed from channel 2 Output to ch 1 Input Feedback EQ Lo FB Att Range 40 0dB to 0 0dB Gain for Lo Xover filter Adjust in 0 5dB Hi FB Att Range 40 0dB 0 0dB Gain for Hi Xover filter Adjusts in 0 5dB Lo Xover Range 20Hz to flat Frequency for 6dB pr octave Lo Cut filter Hi Xover Range 20Hz to flat Frequency for 6dB pr octave Hi Cut filter Modulation S...

Page 98: ...m Reflector LCR Only meters and the Hyper page are different in Reflector 6 Main Page The Main page contains Master parameters that offers an easy way to alter a complex setup of all the reflections along with the basic Output format and level adjustments Normally it is possible to alter the effect in the wanted direction using only the parameters on the Main page If more detailed tweaking is requ...

Page 99: ...t format X Position Adjusts the X axis position for the dry signal Dry Reflector 6 On this page the dry signal is positioned If you work in a send return loop without passing dry signal through Reflector master Dry control turned down the settings are irrelevant The positioning consists of a power panner with perceptually based improvements The panner response depends on selected output format X P...

Page 100: ...r is different from 0 meaning the resulting Feedback value is different from the individual setting Note 2 When symbols are around the parameter this indicates that the parameter is out of range The Feedback is out of range and limited to a total of 100 for all taps Put differently when summing all 24 feedback values and the Feedback Master they cannot exceed 100 in total When settings are out of ...

Page 101: ... mid parametric and Hi shelf are available to form the desired response curve for the 24 individual Shade parameters Look at the Shade curve as a max range for the color adjustment to the taps reflections When a Shade parameter is set to 100 the resulting EQ curve is the same as seen on the Shade EQ page EQ Press the EQ button to access Frequency and Level parameters for the three bands The EQ lev...

Page 102: ...changed since you captured your noise print Introduction The BackDrop noise reduction system was designed to provide the maximum amount of noise reduction without audibly altering the underlying signal Since noise removal systems can also remove part of the signal BackDrop s fundamental philosophy is to remove the noise with as little processing as possible That is BackDrop monitors the incoming s...

Page 103: ... noise by less than 10 dB but not more If Max Reduction is set to 0 dB BackDrop will not remove any noise Also since Max Reduction works in conjunction with Aggression the two parameters should be adjusted together in order to set the desired amount of noise reduction Basilar Dispersion Basilar Dispersion is one of the two parameters which adjusts the characteristics of BackDrop s model of the hum...

Page 104: ...inds that the tonal components of the hum are more annoying than the other two noise components Therefore it would be very useful to apply the most noise reduction specifically to the hum component Conversely the tape hiss component might be quite acceptable and so you might want to leave it untouched while reducing the room rumble component Other noise reduction algorithms operate on the composit...

Page 105: ... that are targeted by the Room Aggression parameter include room noises due to air conditioning units or cooling fans as well as the low frequency rumble due to traffic noise or air movement in a large hall Hiss Aggression Hiss Aggression controls the overall amount of processing applied to any broadband noises having a flat spectrum Hiss Aggression can range from 0 to 100 with 0 meaning that no p...

Page 106: ...he unprocessed capture buffer simply press Bypass Go to the Model screen and select the Basic algorithm using the Algorithm Model control In order to get an initial feel for BackDrop s controls we will use some rather extreme settings Do not take these settings as an indication of typical settings for BackDrop s controls Start by linking BackDrop s controls using the Link button Set Basilar Disper...

Page 107: ... amount of Aggression until you here the level of the noise floor begin to increase This level of Aggression corresponds roughly to the amount of reduction that you desire and the value of Max Reduction that you have selected Note that this relation between Aggression and Max Reduction depends on the signal being processed and so the relative settings will be different for different audio sequence...

Page 108: ... limit BackDrop s ability to decide what is noise and what is signal There are two approaches you can use in this case a Find another piece of audio with similar noise and use it to capture the noise print information b Find the quietest part of the audio signal and use it to capture the noise print information Then use the MultiType algorithm model to apply the noise reduction Set the Buzz Aggres...

Page 109: ... LM6 is part of a universal and ITU standardized loudness control concept whereby audio may easily and consistently be measured and controlled at various stages of production and distribution LM6 works coherently together with other TC equipment or with equipment of other brands adhering to the same global standard Follow the guidelines given to allow audio produced for different purposes to be mi...

Page 110: ... obviously is different from one listening condition to another has to be kept within certain boundaries in order to maintain speech intelligibility and to avoid music or effects from getting annoyingly loud or soft Audio engineers instinctively target a certain DRT profile when mixing but because level normalization in broadcast and music production is based on peak level measures low dynamic ran...

Page 111: ...lly stay within less dynamics processing is automatically needed during distribution and the requirement for maintaining time consuming metadata at a broadcast station is minimized In broadcast the goal is to use the same loudness measure for Production Ingest Linking Master Control Processing Logging thereby ensuring better audio quality not only in DTV audio but across all broadcast platforms LM...

Page 112: ...r Page Current Loudness Outer Ring The outer ring of the Radar page displays Momentary loudness The 0 LU point i e Target Loudness is at 12 o clock and marked by the border between green and yellow while the Low Level point is marked by the border between green and blue The 0 LU Equals and Low Level Below parameters are found on the Setup page For instance if 0 LU is set at 22 LUFS and Low Level i...

Page 113: ...o please update the unit to BS 1770 to obtain similar readings and predictable results To measure dialog with LM6 the same way Dolby LM100 is sometimes used solo the Center channel during a spot check to momentarily disable the channel weighting specified in BS 1770 if you re working on a 5 1 stem Universal Descriptors and AC3 Metadata The Dialnorm parameter in AC3 metadata should indicate the ave...

Page 114: ... consumer s set top box to verify that distribution processing and Dolby DRC has been disabled Like with Program Loudness and Loudness Max the meter should be reset before measuring LRA Prog Loudn Program Loudness returns one loudness number for an entire program film or music track Its unit is LUFS Some vendors and countries use the unit LKFS or LUFS but all three are the same An absolute measure...

Page 115: ... control loud commercials ARIB Japan specifies BS 1770 2 in TR B32 EBU Europe specifies BS 1770 2 in EBU R128 and in associated Tech Doc 3341 Target Level in these countries is 23 LUFS or 24 LUFS measurement gating at 10 LU Note 1 Because the Sliding Loudness measurement is completely un gated it may also be used to spot check sections of a program complying to raw ITU R BS 1770 and the first revi...

Page 116: ...70 2 was in effect at that time The same page also says that All referenced documents are subject to revision The wording is ambiguous and it s up to the reader to decide whether or not a relative gate the difference between BS 1770 1 and BS 1770 2 is applied when measuring Program Loudness The Leq K setting in LM2 disables the relative gate while the setting BS 1770 2 includes a relative gate at ...

Page 117: ...117 lm6 The Stats page gives an overview of essential descriptors Note The Reset button resets the meters and the log file ...

Page 118: ...rs low dynamic range signatures as shown in Fig 1 This is what has happened to CD Quasi peak level meters have this effect They tell little about loudness and also require a headroom in order to stay clear of distortion Using IEC 268 18 meters the headroom needed is typically 8 9 dB Sample based meters are also widely used but tell even less about loudness Max sample detection is the general rule ...

Page 119: ...ive of a running display hasn t been fully agreed upon Formal evaluation of a visualization system is challenging First of all one or more metrics must be defined by which the display should be evaluated The correspondence between the sound heard and the picture seen is one aspect to be evaluated Another metric could characterize the speed of reading the meter reliably In TC Electronic LM2 LM5 and...

Page 120: ...plication examples Balance 1 3 Left right balance for stereo channels 1 3 The range is from hard left to hard right and is adjustable in 0 1 dB steps Ch4 Ch5 Delay 4 5 Range 0 333 ms 0 14700 smp 0 111 m 0 373 feet Delay compensation for channels 4 5 Pan 4 5 Left right panning for mono channels 4 and 5 The range is from hard left to hard right and is adjustable in 0 1 dB steps Inv Inverse 4 5 Phase...

Page 121: ...ansparent from all inputs to all outputs with or without delay enabled Bit pattern transparency is indicated by green dots next to the faders on the Mix page Note how Pan and Balance controls are bit transparent and unity gain at center position Only one channel is affected when the control is moved away from center position This approach could be called constant transparency rather than i e const...

Page 122: ...in A B Range 0 333 ms 0 14700 smp 0 111 m 0 373 feet Delay compensation for each Master outputs Master Fader Range Off to 0 dB Master level control for Main outputs A Main B Fader Range Off to 0 dB Master level control for Main outputs B ...

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TC Electronic SYSTEM 6000 MKII, Algorithm Manual

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