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reduction, or G/R, as shown on the
LEVELING/COMP
LED
bargraph readouts. Advanced all the way to
18.0dB
, all five
bands will be dancing down close to the bottom of the bargraph
displays.
A proper setting for this control is somewhere between these
extremes. The factory
default
is
9.0dB
(halfway), although indi-
vidual factory
presets
will have varying values for specific for-
mats. Generally, a lower setting is called for with classical, jazz
and ‘easy-listening’ formats, and a more aggressive setting for
pop, rock and heavy-metal.
Spectral
Loading
The greatest audible effect (as opposed to benefit) from multi-
band processing is realized when each band operates inde-
pendently of the others. Of course there is some duplicity at
the band crossover frequencies, but fully independent opera-
tion of each band will increase ‘spectral density.’ This means
that it will tend to maximize the energy at all frequencies, even
if the incoming program material has a ‘peaky’ (varied) spectral
profile. We named this effect Spectral Loading.
A good way to picture this is to imagine the input program pro-
file as seen on a real-time audio analyzer, or RTA, which shows
the audio energy at specific frequency intervals across the au-
dible spectrum. Solo voices and instruments will have high en-
ergy levels at their fundamental frequencies, whereas a band or
orchestra will have a broader spectral profile with energy
spread over a wide range of frequencies.
Spectral Loading brings down the energy where it is the highest,
and brings up the low levels at other frequencies. As displayed
on the RTA, the shape of the audio spectrum will be flatter and
the sound of the program will appear ‘busier.’ Spectral Loading
will also impart ‘brightness’ to the sound, as the level of high
frequencies, which generally contain lower total energy, will be
increased.
Band
Coupling
One element of control over the sonic signature of a station is
to establish the degree to which multiband processing is used.
Fully independent operation of the bands will create an artifi-
cially busy and bright sound that may not reflect the desired
signature goal.
The DAVID IV allows the user to proportionally ‘link’ the five
bands, allowing the unit to serve as a compressor that’s effec-
tively variable between five bands and one band.
Full linking does not actually turn the DAVID IV into a single-
band unit, however, as each band is still able to respond inde-
pendently to program
peak
energy within that band’s range.
Rather, the amount of
average
compression in bands 2, 3 and 4
is integrated over time and used as a ‘platform’ release value
for all five bands. Band 1 is excluded in the integration, as
there is generally a lot of bass energy in modern music, which
should not be allowed to reduce the gain of other bands.
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