Orban OPTIMOD-FM 5700i, Руководство по эксплуатации

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3-60
OPERATION ORBAN MODEL 5700i
dependently. This is a feature designed for intermediate or advanced users and de-
velopers when they are creating new 5700i presets. The mute control for a given
band affects
both the FM and HD processing because it mutes the input of compres-
sor in that band. This prevents the muted compressor’s sidechain from producing a
gain reduction signal that could couple into unmuted bands through the various
band-coupling controls.
Please note that a single band will interact with the back-end clipping system quite
differently than will that band when combined with all of the other bands. There-
fore, do not assume that you can tune each band independently and have it sound
the same when the clipping system is processing all bands simultaneously.
Compression Threshold; Speech Compression Threshold controls set the com-
pression threshold for music and speech in each band (following the 5700i’s auto-
matic speech/music discriminator), in units of dB below the final clipper threshold.
We recommend making small changes around the factory settings to avoid changing
the range over which the
MB C
LIPPING
control operates. These controls will affect
the spectral balance of the processing above threshold, but are also risky because
they can significantly affect the amount of distortion produced by the back-end
clipping system.
You can use these controls to set independent frequency balances for music and
speech (page 3-63).
B1-B4 Attack (Time); Speech B1-B4 Attack controls set the speed with which the
gain reduction in each band responds to level changes at the input to a given band’s
compressor for music and speech respectively, following the 5700i’s automatic
speech/music detector. These controls are risky and difficult to adjust appropriately.
They affect the sound of the processor in many subtle ways. The main trade-off is
“punch” (achieved with slower attack times) versus distortion and/or pumping pro-
duced in the clipping system (because slower attack times increase overshoots that
must be eliminated in the clipping system). The results are strongly program-
dependent and must be verified with listening tests to a wide variety of program
material.
Because there are separate controls for music and speech (page 3-63), you can set
attack times faster for speech (to minimize clipping distortion) and slower for music
(to maximize punch and transient definition).
The
A
TTACK
time controls are calibrated in arbitrary units that very approximately
correspond to milliseconds. Higher numbers correspond to slower attacks.
The look-ahead delay times in bands 3, 4, and 5 automatically track the
setting of the
A
TTACK
time controls to minimize overshoot for any attack
time setting.
MB Limit Thr sets the threshold of the clipping distortion controller with reference
to the threshold of the final clipper, in dB.
For best clipping distortion control, most effective setting for this control
is “0 dB” for almost all program material. However, the loudest and most
intense-sounding presets rely on considerable clipping to achieve their