Orban OPTIMOD-PC 1100, Руководство по эксплуатации

Страница: 151 / 166

OPTIMOD-PC OPERATION
3-43
L
INEAR
causes the Two-Band compressor to release at a constant number of dB per
second, while E
XPONENTIAL
causes the release to commence slowly and then speed
up as it progresses. The Exponential shape allows you to create the open sound of a
slow release time with program material that is well controlled in level, while per-
mitting the processing to quickly correct excessively low input levels. We recommend
using
E
XPONENTIAL
for general-purpose programming. We only recommend
L
INEAR
for musical programming, where
E
XPONENTIAL
may create unnatural side effects. (If
the 2B R
ELEASE
control is set between about 0.5 and 2 dB/second, an E
XPONENTIAL
release shape should cause no problems even with music.)
2B GATE (“2B Gate Threshold”) threshold control determines the lowest input level
that will be recognized as program material by OPTIMOD-PC; lower levels are con-
sidered to be noise or background sounds and will cause the AGC or two-band com-
pressor to gate, effectively freezing gain to prevent noise breathing.
There are two independent gating circuits in OPTIMOD-PC Two-Band structure. The
first affects the
AGC and the second affects the two-band compressor . Each has its
own threshold control.
The two-band gain reduction will eventually recover to 0 dB and the AGC gain re-
duction will eventually recover to –10 dB even when the silence gate is gated. How-
ever, recovery is slow enough to be imperceptible. This avoids OPTIMOD-PC’s get-
ting stuck with a large amount of gain reduction on a long, low-level musical pas-
sage immediately following a loud passage.
It is common to set the
2B G
ATE
control to approximately –35 dB. Lower settings are
sometimes useful for musical programming.
BASS CPL (“2B Bass Coupling”) is used to set the balance between bass and the rest
of the frequency spectrum.
The two-band compressor processes audio in a master band for all audio above ap-
proximately 200Hz, and a bass band for audio below approximately 200Hz. The
B
ASS
C
PL
control determines how closely the spectral balance of material below
200Hz matches that of the program material above 200Hz.
Settings toward 100% (wideband) make the output sound most like the input. Be-
cause setting the
B
ASS
C
PL
control at 100% will sometimes cause bass loss, the most
accurate frequency balance will often occur with this control set between 70% and
90%. The optimal setting depends on the amount of gain reduction applied. Adjust
the
B
ASS
C
PL
control until the band 1 and band 2 Gain Reduction meters track as
closely as possible.
With the 2B R
EL
(2B Release) control set to 2 dB/second, setting the B
ASS
C
PL
control
toward 0% (independent) produces a sound that is very open, natural, and non-
fatiguing, even with large amounts of gain reduction. Such settings provide a bass
boost on some program material that lacks bass.
With fast release times, settings of the
B
ASS
C
PL
toward 100% (wideband) do not
sound good. Instead, set the
B
ASS
C
PL
control toward 0% (independent). This com-