Table of Contents
Advertisement
Setting the H-F
limiting control
toward
soft
could
improve
the
sound
of marginally
distorted
program
material
by
softening the highs (including the
harmonic
distortion
present
in
the source
material).
Because
the
OPTIMOD-TV
clipper cancels distortion
at
low
frequencies, the
H-F
LIMITING control will
have
a
different effect
on
clipping distortion
than
you might
expect.
Gross
break-up
(principally sibilance
splatter)
will
not occur,
and you must
listen to
the
upper midrange and
the
highs
to
hear
the
effect
of
the
clipper.
Program
material containing highly equalized
hi-hat
cymbals
or highly
sibilant
voice
will
clearly
demonstrate
the effect
of
adjusting the control.
With
the
recommended
settings
and
clean
program
material, the
control
can be
set
very near
hard
without producing
audible
high-frequency
distortion.
However,
with
marginally
distorted
program
material or
with
clipping control
set
nearer
+2
than
recommended
or with
the
release
time control
set
nearer
fast than
recommended,
the
H-F limiting control
may
need
to
be
set
nearer
to
soft
to
avoid objectionable
distortion.
Fortunately, the
high-frequency
limiter
"knows"
that
greater density
and
level
have been produced
when
these other controls
are set
this
way, and most
of
the
necessary
increases in
high-frequency
limiting will
occur
automatically. In
fact,
you
will clearly
hear a
loss
of
highs
when
you
adjust
any
control
to
produce
more
consistent
loudness
and
greater density
—
this
is
a
result
of
the basic
processing
trade-offs
discussed above.
Spectral
balance.
The
compressor
processes audio
in
two
bands: a
"master"
band
for
all
audio
above
200Hz,
and
a bass
band
for
audio
below 200Hz.
The
BASS COUPLING
control deter-
mines
how
closely the
on-air
balance
between
bass
and midrange
matches
that
of
the
program
material. Settings
toward
wideband
produce an
air
sound
that
is
more
faithful
to the spectral
balance of
the
source
material. Settings
toward INDEPENDENT
produce
bass balances
that are
more
uniform between program segments
(often
with
increased
bass).
Because
setting
the
bass coupling
control
at
wideband
will
sometimes
cause bass
loss,
the
most
accurate
frequency balance
will
often
be
obtained
with
this
control
between 7 and
10.
The
exact
setting
depends on
release
time
and
the
amount
of gain
reduction.
Adjust
the
BASS coupling
control
until
the
total bass
G/R
and compres-
sion
master
G/R meters
track as closely
as possible.
Settings
toward independent
are
only appropriate
for
music
video
programming.
With
slower
release
times
and
the
RELEASE shape
switch
set to
LIN,
a
very
open,
natural,
and
non-fatiguing
sound
is
produced.
However,
these
settings will also
boost bass
on some
bass-shy
program
material,
and
may
pull
up
stage
rumble and
other
low-frequency
noise.
5-n
Hide quick links:
Advertisement
Table of Contents
