Orban 5750 Technical Manual Technical Data 6-9
power of the sinewave that produced ±19 kHz carrier deviaon. In other words, whenever you art measuring, you
mu not exceed the total integrated power limit over the following 60 seconds.
This makes it impraccal to "bank" power over the full 60-second window. For example, at r glance one might
think that a classical music aon could exploit a period of quiet music to allow a crescendo to get louder than it
would using the 5750's relavely fa integraon me. However, what happens if someone arts an arbitrary 60-
second measurement period not at the beginning of the quiet passage but at the beginning of the crescendo?
Because an automac MPX power controller does not know what is coming aer the crescendo, it mu reduce the
level of the crescendo so that it complies with the MPX power requirement over an integraon me that is shorter
than 60 seconds. Otherwise, it might have to dramacally reduce the level of following (as yet unknown) program
material in order to ensure that the MPX power limit is not exceeded over the 60-second measurement period in
queson. This kind of gain pumping would be far worse than the pumping produced by using a relavely short
integraon me.
MPX Pwr Ctrlr Gate: To minimize audible side ees of the MPX power controller’s gain reducon, its release me
is dual-speed and anges as a funcon of the audio level: if the audio level is below a preset threshold, the slower
me conant acvates. There are ve preset values for the gang, whi set the level below whi gang occurs, as
well as the release mes above and below the threshold. Higher-numbered presets provide slower release mes
both above and below the gang threshold.
Unlike the MPX POWER THRESHOLD control (a Syem control), the MPX PWR CTRLR GATE control is part of the
acve processing preset.
Preset 0: No gating: Works like Orban’s older, non-gated MPX power controller.
Preset 1: Only the quieter passages are gated and the gated release is faster than it is in the other presets. Created
to maximize loudness within the BS.412 limit while providing more on-air dynamics and preventing unnecessary gain
pump-ups.
Preset 2: A compromise between Preset 2 and 3. Works well with more dynamic, more open-sounding presets.
Preset 3: Recommended for most CHR-style presets. Quieter parts of the music are effectively frozen to achieve less
audible BS412 control. It is still possible to stay at the BS.412 limit most of the time.
Preset 4: A general-purpose preset that works well with most processing presets. When on-air processing preset is
designed well, it is still possible to stay at the limit with nearly inaudible BS412 control up to 2dB gain reduction.
Preset 5: The controller gates on nearly every power-drop so that the release rate is almost always very slow.
Designed to act only as a protection limiter to sound nearly like no BS412 controller is working at all while still getting
loudness benefits from it. BS.412 gain reduction of up to 3dB is possible without objectionable side effects.
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