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ALGORITHMS
M5AMBIEN
Rev 1.2 Page 29
represent the original 24 bit signal exactly. That is, suddenly, it is possible to pass signals
below the 16th. bit level. Or put popularly, we are trading a highly unmusical graininess and
level distortion for a much less noticeable noise and get an improved reconstruction of the
original signal. This process is popularly called dithering. Further, a shaping of the added
noise is possible. The TOOLBOX

features 2 types of dithering: The TDF Triangular
Probability Density Function, which is a flat power spectrum dithering type, and a High
Frequency shaped TDF noise, that has a 5-6 dB less apparent added noise. Which one is the
best depends on the program material, however in general, the HP-TDF is recommended.
METERS:
As the meters on the M5000 front panel obviously are to rough for monitoring the signal
levels, a special high resolution level meter has been implemented. The meter has several
features such as switchable range and ticks (dB marks) for easy monitoring of the critical
levels. Maximum peak hold will display the highest peak that occurred or auto release will
display the peak momentarily.
STEREO ADJUST:
Different stereo adjust parameters enables you to fine adjust the balance between left and
right. You can even swap left and right channel which can be a difficult operation in the
digital domain. MS encoding/decoding and mono addition are other parameters that might be
useful within the digital mastering domain. Phase problems can be fixed by the special phase
control.
FADING:
Digital fading is something you normally would do in your editing system, however for
optimizing recordings between e.g. 2 DAT players fading possibilities are rarely available.
With the TOOLBOX

fading is this situation is readily possible.
There is even a unique fading feature - that is not readily available otherwise in a mastering
plant - namely a selectable
Fletcher-Munson corrected fade pattern - named FMC as
parameter. As shown below on fig. 4, Fletcher and Munson, established a set of equal
loudness contours for the human hearing, i.e. our normal experience of the loudness as a
function of frequency at various levels. The term Phon is used to express our experience of
loudness relative to 1 KHz.
The Fletcher-Munson Correction parameter adds a frequency contouring that is linked to the
fade dB value. The correction chosen in the TOOLBOX

comes in action at fader values
below -20dB only and makes the loss, as you fade out, of both low and high frequencies much
less apparent. Maximum correction added happens at -60dB and is close to +20dB relative to
3KHz. By fading with this pattern the program material seems to be more linear and pleasant
to listen to during a fade out, instead of the usual ‘thinning out’ as you fade out.