Orban OPTIMOD 6300, Руководство по эксплуатации

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3-44
OPERATION ORBAN MODEL 6300
The loudness controller is designed to follow 2-band or 5-band compression, which
prevents it from being overdriven. It is only available in the
M
ULTIBAND
and
M
ULTIBAND
+L
IMITING
processing chains.
The
L
OUDNESS
T
HRESHOLD
control sets the subjective loudness level at which the
loudness controller will add further gain reduction to the gain reduction that the
multiband compressor produces. To minimize spectral gain modulation artifacts, the
loudness controller applies gain reduction to the Master band only in 2-band mode,
and in bands 2-5 in 5-band mode. In 2-band mode, the 2B Master gain reduction
meter shows the sum of the compressor-induced gain reduction and the loudness
controller-induced gain reduction. In 5-band mode, the band 2-5 gain reduction me-
ters indicate the sum of the gain reduction in the band in question and the loudness
control gain reduction.
The loudness controller’s attack and release times are tuned to match the loudness
integration times of the ear, are program-adaptive, and are not user-adjustable.
The loudness controller responds almost entirely to program material that has
dominant energy between 1 and 7 kHz, which is the ear’s most sensitive range. If
you find that the loudness controller is producing audible artifacts in 2-band mode
because the program forces it to do more than approximately 6 dB of extra gain re-
duction, we suggest using 5-band mode instead. This will automatically re-equalize
such program material and will de-ess extremely sibilant program material less ob-
trusively than the loudness controller will. The 5-band compressor will typically con-
trol loudness within a 2 dB window even with the loudness controller defeated. Al-
though the loudness controller is available in 5-band mode, you may find that you
prefer the more open sound of the 5-band compressor without additional loudness
control.
The loudness controller sidechain receives the output of the MB Limiter. Hence, the
loudness controller responds accurately to all 6300 audio processing except look-
ahead limiting, which is a peak limiting process whose gain reduction does not sig-
nificantly affect subject loudness.
If you feel that the Loudness Controller is not controlling the loudness of commer-
cials or other subjectively loud program material sufficiently well, you may wish to
set the threshold lower, forcing the Loudness Controller to do more work. Con-
versely, if the loudness controller is doing more gain reduction that you would like,
you can set the
L
OUDNESS THRESHOLD
control higher.
Note that the Loudness Controller operates with reference to an absolute subjective
loudness threshold that does not adapt to program context. This means that if there
is a transition between very quiet program material (like footfalls through rustling
leaves) and a commercial, the commercial may
still seem offensively loud even
though the Loudness Controller is controlling its loudness correctly with reference to
other sounds that reach full-scale loudness. Philosophically, this is inevitable; the
Loudness Controller cannot reduce the level of the commercial to the level of rus-
tling leaves without destroying the effectiveness of the commercial and angering
the sponsor!
FINAL LIMT (“Final Limit Drive”): See page 3-39.