OPTIMOD-FM OPERATION
3-53
(the input noise) in sync with the input program material. Set the MB Down Expander
control higher until you can no longer hear the noise modulation. This is the best setting.
Obviously, the correct setting will be different for a sporting event than for classical mu-
sic. It may be wise to define several presets with different settings of the
MB Down Ex-
pander
control, and to recall the preset that complements the program material of the
moment.
Note also that it is virtually impossible to achieve undetectable dynamic noise reduction
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 objectionable side ef-
fects. You must let your ears guide you.
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 (centered 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
Band 4>5 Cpl
control determines the gain reduction in band 5. The
Band 4>5 Cpl control receives the
independent left and right band 4 gain control signals; this feed is unaffected by the band
4
Max Delta G/R control. Range is 0 to 100% coupling.
This control was first introduced with Version 2.0 software.
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 adjust
the multiband processing to be anything from fully independent operation 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 to-
wards 100% (fully coupled) it reduces the amount of dynamic bass boost, preventing un-
natural bass boost in light pop and talk formats. Set towards 0% (independent), it permits
frequencies below 100 Hz (the “slam” region) to have maximum 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 multiband
compressor. Because these controls mix after the band compressors, they do not affect
the compressors’ gain reductions and can be used as a graphic equalizer to fine-tune the
spectral balance of the program material over a ±3 dB range.
Their range has been purposely limited because the only gain control ele-
ment after these controls is the back-end clipping system (including the mul-
To Next Page
Loading...
