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OPTIMOD-PC
These controls allow you to set the limiter attack anywhere from 0% to
100% of normal in the Five-Band compressors, each of whose gain reduc-
tion has a fast-release (limiter) and slow-release (compressor) component.
Because the limiter and compressor characteristics interact, you will usu-
ally get best audible results when you set these controls in the range of
70% to 100%. Below 70%, you will usually hear pumping because the
compressor function is trying to create some of the gain reduction that
the faster limiting function would have otherwise achieved. If you hear
pumping in a band and you still wish to adjust the limiter attack to a low
setting, you can sometimes ameliorate or eliminate the pumping by slow-
ing down the compressor attack time in that band.
Of course, sometimes artistic pumping is desired for certain styles of mu-
sic and/or recording. The L
sound.
If you are using low compression ratios and small amounts of gain reduc-
tion, setting the L
crease punch.
K) Adjust the T
This control allows you to insert an audio delay of up to 10 ms in the
sidechain of the five-band compressor. Delaying the gain control signal,
allows attack transients to pass through the multiband compressor un-
compressed, which can increase punch. There is a tradeoff between this
control and the amount of gain reduction in the look-ahead limiter,
which will have to eliminate attack transients exceeding the look-ahead
limiter's threshold.
L) Adjust equalization as necessary.
As discussed above, there is a versatile program equalizer available be-
tween the AGC and multiband compressor. In five-band mode, there is
also a five-band mix control (functioning as a phase-linear graphic equal-
izer) after the five-band compressor. In five-band mode, any fixed equali-
zation will be partially "undone" by the dynamic re-equalization effect
of the five-band compression, so two-band mode is most useful when
you are relying on the 1101's fixed EQ or on external EQ earlier in the
signal path.
Note also that you can use the individual band compression threshold
controls, the B
amount of automatic re-equalization performed by the five-band com-
pression. As you set these controls closer to 100%, they permit progres-
sively less dynamic LF and HF program-adaptive boost. If you feel that the
dynamic re-equalization is not producing enough brightness when the
program material lacks high frequencies, you should turn the B
and B
ciently boosted, turn the
M) Set the amount of peak limiting with the MB L
In general, the less peak limiting you use, the better sounding the result
will be. However, if your client demands a "loud" result, the 1101's look-
ahead peak limiter is a powerful tool for achieving this with minimum
distortion or other side effects. Nevertheless, be aware that this function
is not like some familiar "look-ahead" limiters. The release time is in the
IMITER
A
IMITER
TTACK
control to taste.
E
RANSIENT
NHANCE
C
control, and HF C
ASS
OUPLING
4>5 C
closer to 0%. Similarly, if weak bass is not suffi-
AND
OUPLING
B
AND
A
T
controls can help achieve this
TTACK
IME
T
controls as low as 50% can often in-
IME
control to affect the
OUPLING
2>1 C
closer to 0%.
OUPLING
D
IMIT
RIVE
OPERATION
3>4
AND
control.
3-67
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