Orban OPTIMOD 6300, Руководство по эксплуатации

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3-10
OPERATION ORBAN MODEL 6300
emphasis curve. The 6300’s 2-band phase-linear structure therefore keeps the musi-
cal spectrum coherent and natural.
Input/output Delay
The input/output time delay is typically 25 ms—about three-quarters of an NTSC
frame. To make intelligent decisions about how to process, the 6300 needs to look
ahead at the next part of the program waveform. As digital transmission processing
advances further and further from its analog roots, this is the inevitable price of
progress.
To avoid lip sync problems in sound-for-picture applications, the 6300 allows you to
pad the delay to one full frame of 24, 25, or 29.97 fps video, which makes matching
audio and video delays convenient. See step 23 on page 2-20.
If talent monitors off-air through headphones they are in the same location as the
6300, you can configure the 6300’s analog output to supply a special low-delay
monitor signal to drive talent headphones only. (See step 10 on page 2-14.)
Customizing the 6300’s Sound
The subjective setup controls on the 6300 give you the flexibility to customize your
station’s sound. Nevertheless, as with any audio processing system, proper adjust-
ment of these controls consists of balancing the trade-offs between loudness, den-
sity, and audible distortion. The following pages provide the information you need
to adjust the 6300 controls to suit your format, taste, and competitive situation.
When you start with one of our Factory Presets, there are two levels of subjective
adjustment available to you to let you customize the Factory Preset to your re-
quirements: Basic Modify and Full Modify. A third level,
Advanced Modify , is accessi-
ble only from the 6300’s PC Remote software .
See page 6-41 for a block diagram of the processing.
Basic Modify
BASIC MODIFY allows you to control three important elements of 6300 processing:
the stereo enhancer, the equalizer, and the dynamics section (multiband compres-
sion, limiting, and clipping). At this level, there is only one control for the dynamics
section:
L
ESS
-M
ORE
, which changes several different subjective setup control settings
simultaneously according to a table that we have created in the 6300’s permanent
ROM (Read-Only Memory). In this table are sets of subjective setup control settings
that provide, in our opinion, the most favorable trade-off between loudness, den-
sity, and audible distortion for a given amount of processing. We believe that most
6300 users will never need to go beyond the
L
ESS
-M
ORE
level of control because the
combinations of subjective setup control settings produced by this control have been