Orban OPTIMOD 6300, Руководство по эксплуатации

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OPERATION ORBAN MODEL 6300
this point, every 2 dB increase in Band 4’s gain reduction will cause a 1 dB increase in
Band 3’s gain reduction.
B4>B5 CPL (“Band 4>5 Coupling”) controls the extent to which the gain of band 5
(6.2 kHz and above) is determined by and follows the gain of band 4.
The sum of the high frequency limiter control signal and the output of the B4>B5
CPL
CONTROL
determines the gain reduction in band 5. The
B4>B5 CPL
control re-
ceives the independent left and right band 4 gain control signal. Range is 0 to 100%
coupling.
B3>B2 CPL and B2>B3 CPL controls determine the extent to which the gains of
bands 2 and 3 track each other.
When combined with the other coupling controls, these controls can adjust the mul-
tiband processing to be anything from fully independent operation to quasi-
wideband processing.
B2>B1 CPL control determines the extent to which the gain of band 1 (below 100Hz
or 200Hz, depending on crossover setting) is determined by and follows the gain of
band 2 (centered at 400Hz). Set towards 100% (fully coupled), it reduces the amount
of dynamic bass boost, preventing unnatural bass boost. Set towards 0% (independ-
ent), it permits frequencies below 100Hz (the “slam” region) to have maximum im-
pact in modern rock, urban, dance, rap, and other music where bass punch is crucial.
Accordingly, it can be useful in music video oriented formats.
Bx Out (“Band x Output Mix”) controls determine the relative balance of the bands
in the multiband compressor. Because these controls mix after the band compres-
sors, they do not affect the compressors’ gain reductions and can be used as a
graphic equalizer to fine-tune the spectral balance of the program material over a

3 dB range.
Their range has been purposely limited because the only gain control element after
these controls is the back-end look-ahead limiter, which can produce audible distor-
tion if overdriven. The thresholds of the individual compressors have been tuned to
prevent audible distortion with almost any program material. Large changes in the
frequency balance of the compressor outputs will change this tuning, leaving the
6300 more vulnerable to unexpected audible distortion with certain program mate-
rial. Therefore, you should make large changes in EQ with the bass and parametric
equalizers and the HF enhancer, because these are located
before the compressors.
The compressors will thus protect the system from unusual overloads caused the
chosen equalization. Use the multiband mix controls only for fine-tuning.
You can also get a similar effect by adjusting the compression threshold of the indi-
vidual bands. This is comparably risky with reference to look-ahead limiter overload,
but unlike the
MB B
AND
M
IX
controls, the threshold adjustments do not affect the
frequency response when a given band is below threshold and is thus producing no
gain reduction.