OPTIMOD-FM DIGITAL
OPERATION
3-41
Hard Clip Shape
(Hard Clip Shape) allows you to change the knee of the in-
put/output gain curve of the bass clipper when
B
ASS
C
LIP
M
ODE
is set to
HARD
. It al-
lows you to control the shape of the “knee”—the transition between no clipping
and flat-topping. “0” provides the hardest knee, where the transition between lin-
ear operation and flat-topping occurs abruptly as the clipper’s input level is
changed. “10” is the softest knee, where the transition starts 6 dB below
B
ASS
C
LIP
T
HRESH
setting and occurs gradually. The factory default setting is “7.6.”
The
M
ED
and
S
OFT
bass clipper characteristics use sophisticated look-
ahead algorithms that produce lower distortion than
H
ARD
mode, regard-
less of where the
H
ARD
C
LIP
S
HAPE
control is set. However, operating in
H
ARD
mode with the
H
ARD
C
LIP
S
HAPE
control set beyond “0” may produce
a tradeoff between punch and bass distortion that is more appropriate
for pop music requiring substantial bass punch to make its musical point.
In any event, the
H
ARD
C
LIP
S
HAPE
control adds a useful color to the 8500’s
sound palette—one that is not duplicated by the existing
M
ED
and
S
OFT
bass clipper characteristics.
This control does nothing if the
B
ASS
C
LIP
M
ODE
is set to
M
ED
or
S
OFT
.
FINAL CLIP
(“Final Clip Drive”) adjusts the level of the audio driving the back end
clipping system that OPTIMOD-FM uses to control fast peaks. This control primarily
determines the loudness/distortion trade-off.
Turning up the
F
INAL
C
LIP
control drives the final clipper and overshoot compensator
harder, reducing the peak-to-average ratio, and increasing the loudness on the air.
When the amount of clipping is increased, the audible distortion caused by clipping
also increases. Although lower settings of the
F
INAL
C
LIP
control reduce loudness,
they make the sound cleaner.
If the
R
ELEASE
control is set to its faster settings, the distortion produced by the
back-end clipping system will increase as the
M
ULTIBAND
D
RIVE
control is advanced.
The
F
INAL
C
LIP
D
RIVE
and/or the
M
ULTIBAND
L
IMIT
T
HRESHOLD
controls may have to be
turned down to compensate. To best understand how to make loudness/distortion
trade-offs, perhaps the wisest thing to do is to recall a factory multiband preset, and
then to adjust the
L
ESS
-M
ORE
control to several settings throughout its range. At
each setting of the
L
ESS
-M
ORE
control, examine the settings of the
M
ULTIBAND
D
RIVE
and
M
ULTIBAND
L
IMIT
T
HRESHOLD
controls. This way, you can see how the factory pro-
grammers made the trade-offs between the settings of the various distortion-
determining controls at various levels of processing.
The 5700i’s multiband clipping and distortion control system works to
help prevent audible distortion in the final clipper. As factory program-
mers, we prefer to adjust the FINAL CLIP
control through a very narrow
range (typically –0.5 dB to –1.0 dB) and to determine almost all of the
loudness/distortion trade-off by the setting of the
M
ULTIBAND
C
LIPPING
control.
The final clipper operates at 256 kHz sample rate and is fully anti-aliased.
Composite Limit Mode
determines if the composite limiter will operate as a hard
clipper or as Orban’s patented “Half-Cosine Interpolation” composite limiter (which
is not a clipper).
Содержание OPTIMOD-FM 5700i
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