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small additional amount of stereo difference information. This gives
a little bit of stereo enhancement at no extra charge.
Further discussion of the PIPP* limiting concept can be found in a
white paper on the Inovonics Website: www.inovon.com. PIPP*
limiting is protected by US Patent No. 6,658,120.
COMP.
CLIPPING
Composite clipping has traditionally been the tool used to squeeze
the very last bit of loudness from the processed FM program signal.
Too much clipping of the multiplex signal can generate spurious
harmonic products that clutter the baseband spectrum, interfering
with the 19kHz pilot and compromising performance of RDS and
SCA subcarriers.
In the
DAVID-III
the multiplex waveform is clipped
prior
to the
point at which the 19kHz stereo pilot is inserted. This ensures that
the pilot is not directly modulated, though the pilot is not protected
from harmonic products that are generated as the program
waveform is clipped at fractional intervals (mostly one-third and
one-fifth) of the pilot frequency. The following tabulation is an
approximation of the SG
TM
(Spectral Garbage) generated by
composite clipping:
COMPOSITE
PROCESSING
PEAK VALUE OF
CLIPPING PRODUCTS
OUT
>60dB below 100% Mod.
1dB
50dB below 100% Mod.
2dB
45dB below 100% Mod.
3dB
40dB below 100% Mod.
Keep clearly in mind that crosstalk of program audio harmonic
components into the RDS or SCA subcarrier region is exacerbated
by composite clipping, so
use this feature sparingly!
Generally, 1dB
of
COMP. CLIPPING
can be tolerated without harmful effect.
HOW DOES IT SOUND?
The foregoing overview of processor setup is intended only as a
guide. Final decisions must be made based on extensive listening
and not on the basis of numbers. The dB markings around the
front-panel controls correlate well with what s going on inside the
DAVID-III
, but not necessarily with what you may expect to hear.
Please make every effort to arrive at a setup that sounds good to you
and to other station personnel for the
majority
of program content
and over the
long term
. Resist the temptation to change settings
because of how one or two specific music tracks sound; some songs
simply sound awful with any processing or without it, for that
matter.
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