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3-38
OPERATION
ORBAN Model 6200
The thresholds of the bands in the five-band compressor have been designed to produce
a sane frequency balance with material commonly broadcast, including both speech and
music. Broadcast compressors must work well with any material thrown at them, without
adjustment. Therefore, the hard-wired threshold settings are likely to be acceptable. Fur-
ther, the band 5 threshold is adjustable, so you can use it to make the brightness/sibilance
tradeoff, as discussed above. You can also adjust the band OUT controls (under the EQ
menu) to make incremental adjustments, although this will also affect the below-
threshold EQ.
The fixed equalization was designed to complement material that was already produced
to commercial standards. The midrange and HF parametric equalizers are quite general,
permitting boosts and cuts with a variety of bandwidths and center frequencies. How-
ever, the bass equalizers can only boost, not cut, and bass cuts are sometimes needed in
mastering. Small amounts of cut (up to 3dB) are available from the
BAND 1 OUTPUT
control, and the
controls can limit potential bass boost. Further,
MIX
BASS COUPLING
the multiband compression will usually control excessive bass automatically. If you need
more control than this, we suggest using your favorite external equalizer before the
6200.
A final limitation is lack of a convenient bypass facility for comparing "processed" and
"unprocessed" sounds. There are two reasonable workarounds.
The first uses the 6200's
facility. Access this by pressing
, then
TEST BYPASS
SETUP
TEST
. The
MODE
soft key allows you to toggle between
OPERATE
and
BYPASS
. You
can set the bypass gain with the
BYPASS GAIN
soft key, immediately to the right of the
MODE
soft key. The disadvantage of this is that
TEST BYPASS
loads new code into the
6200's DSPs, so there is about a one second mute each time you toggle. (If you expect
input levels to be close to full scale, you will clip internally if you specify a
BYPASS
greater than 0dB.)
GAIN
The second involves creating a preset with no processing. (This does not mute when tog-
gled.) Recall 2B CLASSICAL and modify it to a
of 1. Turn off the gate,
LESS-MORE
and back off the
control to achieve no gain reduction. Adjust the
2B DRIVE
FINAL LIMT
control to make up the gain. Be sure that there is no gain reduction in the final limiter (as
indicated on its gain reduction meters), even if this means that this preset is significantly
quieter than your working preset. This will accurately reflect the amount of loudness you
are achieving by using the working preset.
When you are satisfied, save this preset, naming it "BYPASS." You can then use the
softkey (under the
menu) to toggle between the
preset
RECALL NEXT
RECALL
BYPASS
and your working preset.
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