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3-52
OPERATION
ORBAN MODEL 1101
second, while E
causes the release to commence slowly and then speed
XPONENTIAL
up as it progresses. The Exponential shape allows you to create the open sound of a
slow release time with program material that is well controlled in level, while per-
mitting the processing to quickly correct excessively low input levels. We recommend
using E
for general-purpose programming. We only recommend L
XPONENTIAL
INEAR
for musical programming, where E
may create unnatural side effects. (If
XPONENTIAL
the 2B R
control is set between about 0.5 and 2 dB/second, an E
ELEASE
XPONENTIAL
release shape should cause no problems even with music.)
2B GATE ("2B Gate Threshold") control determines the lowest input level that will
be recognized as program material by OPTIMOD-PC's two-band compressor; lower
levels are considered to be noise or background sounds and will cause the two-band
compressor to gate, effectively freezing gain to prevent noise breathing.
There are two independent gating circuits in OPTIMOD-PC Two-Band structure. The
first affects the AGC and the second affects the two-band compressor. Each has its
own threshold control.
The two-band gain reduction will eventually recover to 0 dB and the AGC gain re-
duction will eventually recover to –10 dB even when the silence gate is gated. How-
ever, recovery is slow enough to be imperceptible. This avoids OPTIMOD-PC's getting
stuck with a large amount of gain reduction on a long, low-level musical passage
immediately following a loud passage.
It is common to set the 2B G
control to approximately –35 dB. Lower settings are
ATE
sometimes useful for musical programming.
BASS CPL ("2B Bass Coupling") is used to set the balance between bass and the rest
of the frequency spectrum.
The two-band compressor processes audio in a master band for all audio above ap-
proximately 200Hz, and a bass band for audio below approximately 200Hz. The B
ASS
control determines how closely the spectral balance of material below 200Hz
C
PL
matches that of the program material above 200Hz.
Settings toward 100% (wideband) make the output sound most like the input. Be-
cause setting the B
control at 100% will sometimes cause bass loss, the most
C
ASS
PL
accurate frequency balance will often occur with this control set between 70% and
90%. The optimal setting depends on the amount of gain reduction applied. Adjust
the B
control until the band 1 and band 2 Gain Reduction meters track as
C
ASS
PL
closely as possible.
With the 2B R
(2B Release) control set to 2 dB/second, setting the B
control
C
EL
ASS
PL
toward 0% (independent) produces a sound that is very open, natural, and non-
fatiguing, even with large amounts of gain reduction. Such settings provide a bass
boost on some program material that lacks bass.
With fast release times, settings of the B
C
toward 100% (wideband) do not
ASS
PL
sound good. Instead, set the B
control toward 0% (independent). This com-
C
ASS
PL
bination of fast release and independent operation of the bands provides the max-
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