OPTIMOD 6300 DIGITAL
OPERATION
3-69
allows attack transients to pass through the multiband compressor un-
compressed, which can increase punch. There is a tradeoff between this
control and the amount of gain reduction in the look-ahead limiter,
which will have to eliminate attack transients exceeding the look-ahead
limiter’s threshold.
N)
Set the amount of peak limiting with the
F
INAL
L
IMIT
control.
In general, the less peak limiting you use, the better sounding the result
will be. However, if your client demands a “loud” result, the 6300’s look-
ahead peak limiter is a powerful tool for achieving this with minimum
distortion or other side effects. Nevertheless, be aware that this function
is not like some familiar “look-ahead” limiters. The release time is in the
order of a few milliseconds and is not user adjustable. The purpose of the
limiter is
only
to limit peaks that pass through the earlier compressors be-
cause of their finite attack times. Functionally it is used like a peak clip-
per, but thanks to a built-in psychoacoustic model, it has vastly reduced
modulation distortion by comparison to a clipper, whether “soft knee”
or “hard knee.”
The main potential side effects of the look-ahead limiter are gain breath-
ing and a “warbling” sound in the midrange when heavy bass is simulta-
neously present. Listen carefully for this intermodulation effect (particu-
larly on vocals) when you are adjusting the
F
INAL
L
IMIT
control.
O)
Adjust the
B
ASS
C
LIP
T
HRESHOLD
and
B
ASS
C
LIP
S
HAPE
controls to complement
the amount of final limiting. (See page 3-38.)
For most mastering applications, you can set the
B
ASS
C
LIP
T
HRESHOLD
to
O
FF
. However, if you hear pumping or “warbling” distortion in the look-
ahead limiter caused by heavy bass transients, you can reduce this effect
by setting the
B
ASS
C
LIP
to a lower level. (The
B
ASS
C
LIP
control is cali-
brated in “dB below the look-ahead limiter threshold.”) It is most effec-
tive when the
B1/B2
C
ROSSOVER
control is set to 100 Hz, as this setting
prevents intermodulation between vocals and instrumental bass in the
clipper.
P)
If you wish to compare your processed sound to the unprocessed original, re-
call the
L
OOK
A
HEAD
L
IMITER
preset and toggle between it and your processing
preset. If there is a gross loudness disparity, you may wish to edit the gain
within the
L
OOK
A
HEAD
L
IMITER
preset and save this as a user preset. However,
be careful not to clip the output if you set the bypass for gain.
You can determine whether you are clipping by observing the level me-
ter in the
O
UTPUT
page of the mixer.
Q)
Save your preset using File/Save Preset.
Once you have created one “mastering” preset, you can edit it to create
others and save them under different names.
R)
For a 44.1 or 88.2 kHz output sample rate, set the digital output level (step 10
on page 2-25) to approximately –0.5dBfs; this will prevent overshoots caused
by sample rate conversion. For a 48 or 96 kHz output sample rate, set the digi-
tal output level to –0.1dBfs.
Содержание OPTIMOD 6300
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