Orban OPTIMOD-FM 8500S, Руководство по эксплуатации

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OPERATION ORBAN MODEL 8500S
D
OWN
E
XPANDER
control and to recall the preset that complements the program ma-
terial of the moment.
Note also that it is virtually impossible to achieve undetectable dynamic noise reduc-
tion of program material that is extremely noisy to begin with, because the program
never masks the noise. It is probably wiser to defeat the dynamic noise reduction
with this sort of material (traffic reports from helicopters and the like) to avoid ob-
jectionable side effects. You must let your ears guide you.
Band 5 is particularly critical for noise reduction because much of the Downward Ex-
pander’s utility lies in hiss reduction. Hiss has most of its energy in band 5, while pro-
gram material typically has less energy in this band, so the
B5 D
OWN
E
XPANDER
D
ELTA
T
HRESHOLD
control’s setting is critical to removing hiss while minimizing removal of
desired program energy.
Starting in V2.0, the Downward Expander’s dynamic frequency response is no longer
constrained to being strictly lowpass—Band 5 is now uncoupled from the lower
bands, so the band 5 downward expander can produce less gain reduction than
other bands. This can help prevent loss of desired high frequency material in the
program.
Band 3 > 4 Coupling control determines the extent to which the gain of band 4
and 5 (centered at 3.7 kHz) is determined by and follows the gain of band 3 (cen-
tered at 1 kHz). Set towards 100% (fully coupled) it reduces the amount of dynamic
upper midrange boost, preventing unnatural upper midrange boost in light pop and
instrumental formats.
Band 4 > 5 Coupling
control 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
B
AND
4 > 5 C
PL
control determines the gain reduction in band 5. The
B
AND
4 > 5 C
PL
control receives the independent left and right band 4
gain control signals; this feed is unaffected by the band 4 M
AX
D
ELTA
G/R
control. Range is 0 to 100% coupling.
Band 3 > 2 Coupling and Band 2 > 3 Coupling 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 ad-
just the multiband processing to be anything from fully independent op-
eration to quasi-wideband processing.
Band 2 > 1 Coupling control determines the extent to which the gain of band 1
(below 100 Hz) is determined by and follows the gain of band 2 (centered at 400
Hz). Set towards 100% (fully coupled) it reduces the amount of dynamic bass boost,
preventing unnatural bass boost in light pop and talk formats. Set towards 0% (in-
dependent), it permits frequencies below 100 Hz (the “slam” region) to have maxi-
mum impact in modern rock, urban, dance, rap, and other music where bass punch
is crucial. The default setting is 30%.
MB Band Mix controls determine the relative balance of the bands in the multi-
band compressor. Because these controls mix after the band compressors, they do