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INTRODUCTION
AND
SYSTEM
DESCRIPTION
3-5
Initial
Electrical
Checkout
3-5
Equipment
Location
3-5
Difficult
Environments
3-6
Mounting
And
Grounding
3-6
Input
Signal
Connections
3-7
Accessory
Chassis
Output Connections
3-7
Main
Chassis
Output Connections
3-7
Interfacing
A
BTSC
Stereo Generator
3-8
Remote
Gain Reduction
Meter
1-1
1-2
1-3
1-3
1-3
1-3
1-4
1-4
1-5
1-6
1-6
1-7
1-7
1-7
1-8
Function
Of
OPTIMOD-TV
Comparison
With
OPTIMOD-FM
Model 8100A
Comparison
With
OPTIMOD-TV
Model 8180A
Split
Configuration
Simplified
System
Description
Input Conditioning
Filter
Dual-Band Compressor
Preemphasis
and
High Frequency
Limiter
Loudness
Controller
"Hilbert-Transform Clipper"
Frequency -Contoured
Sidechain
Overshoot
Corrector
Stereo Generator
Interface
Port
And
Line
Ampli
fier/Deemphasis
VU
Meter
BTSC
Stereo
And The 8182A
Summary
APPLICATIONS
2-1
Studio-Transmitter Links
2-2
Exciters
2-3
Additional Aural Sibcarriers
2-3
Stereo
INSTALLATION
3-1
Registration
Card
3-1
Unpacking
And
Initial
Inspection
3-1
Physical
Examination
3-1
Power
Considerations
3-2
Fig. 3-1:
Power
Cord
Compatibility
3-2
Initialization
Options
3-2
Output
Preemphasis
3-3
Fig. 3-2:
Output Preemphasis
Jumper
3-3
Input Attenuator
Pads
3-3
Fig.
3-3:
Input
Attenuator
Jumper
3-3
Defeating
The 30Hz
Highpass
Filters
3-3
L/R
or
L+R/L-R
Output
Mode
3-4
Fig. 3-4:
Card
it
7
Output
Format Jumper
3-4
Loudness
Controller
3-4
Fig.
3-5:
Card
it
2
Power-Up
3-4
Fig.
3-6:
Deemphasis Jumpers
3-4
Other Jumpers
3-4
Reassembly
INITIAL
SETUP
PROCEDURE
4-1
Dual-Chassis
Alignment
4-4
Single-Chassis
Alignment
4-5
Program
Tests
4-
6
Fig. 4-5:
Recommended
Initial
Control
Settings
OPERATING INSTRUCTIONS
5-
2
8182
A
Audio Processor Controls
5-3
Fig. 5-1:
8182A
Controls and
Meters
5-4
Getting
The Sound
You Want
5-4
Recommended
Settings
For The
Best
Sound
5-5
Fig. 5-2:
Recommended
Control
Settings
5-6
Adjusting
The
GATE THRESHOLD
Control For Arts
Programming
5-6
Setting
The
LOUDNESS
CONTROLLER
Switch For
Music
Videos
5-7
Understanding
More About
Audio
Processing
5-7
Some
Audio
Processing
Concepts
5-7
Gatging For Unobtrusive Processing
5-8
Control
Of
Dynamic Range
-
Gain Reduction
And
Release
Time
5-9
A
Note About Gain Reduction Metering
5-9
Excessive
Commercial
Loudness
5-10
Peak
Control
5-10
High-Frequency Limiting
To Reduce
Distortion
5-11
Spectral
Balance
5-12
CATALOG
Of
OPERATING
OBJECTIVES
AND
SOLUTIONS
5-12
Fig. 5-3:
Initial
Control
Settings
5-12
To
Control Relative
Loudness
5-12
To
Obtain
More
Consistent Levels
5-12
To Obtain
More
Brightness
5-12
To
Obtain
More
Bass
5-13
To
Obtain Less Bass
5-13
To
Make
"Air"
Sound Most
Like
"Program"
5-13
To
Obtain
"Open" Sound
5-13
To
Obtain
A
"Heavily-Processed" Sound
5-13
To
Avoid
"Noise
Pump-Up"
5-13
To
Achieve
More
Subtle
Gain Riding
On
Wide-
Dynamic Range
Material
5-13
To
Avoid Excessive
Sibilance
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