Orban OPTIMOD 6300 Operating Manual page 193

OPTIMOD 6300 DIGITAL
sounds and underscoring from being pumped up, while lower settings are more
common with musical programming.
BASS CPL ("2B Bass Coupling") is used to set the balance between bass and the rest
of the frequency spectrum.
The 2-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 C
control determines how closely the balance of material below 200Hz
ASS PL
matches that of the program material above 200Hz.
Bass coupling is set to 100% on all of the 2-band presets because these presets are
designed to do gentle gain riding without increasing program density or signifi-
cantly modifying the spectral balance of the program. When bass coupling is set to
100%, the bass band will usually have the same amount of gain reduction as the
master band. Only with material having unusually heavy bass will you see additional
gain reduction in the bass band.
Bass Clip ("Bass Clip Threshold"): See page 3-46.
Loudness Threshold sets the maximum subjective loudness allowed by the process-
ing with reference to the input of the 6300's multiband look-ahead limiter (2-band
or 5-band). It is most useful in 2-band mode because the 5-band compressor creates
more uniform loudness than does the 2-band compressor/limiter.
The loudness controller is designed to follow 2-band or 5-band compression, which
prevents it from being overdriven. It is only available in the M
M +L
ULTIBAND IMITING
The L T
OUDNESS HRESHOLD
loudness controller will add further gain reduction to the gain reduction that the
multiband compressor produces. To minimize spectral gain modulation artifacts, the
loudness controller applies gain reduction to the Master band only in 2-band mode,
and in bands 2-5 in 5-band mode. In 2-band mode, the 2B Master gain reduction
meter shows the sum of the compressor-induced gain reduction and the loudness
controller-induced gain reduction. In 5-band mode, the band 2-5 gain reduction me-
ters indicate the sum of the gain reduction in the band in question and the loudness
control gain reduction.
The loudness controller's attack and release times are tuned to match the loudness
integration times of the ear, are program-adaptive, and are not user-adjustable.
The loudness controller responds almost entirely to program material that has
dominant energy between 1 and 7 kHz, which is the ear's most sensitive range. If
you find that the loudness controller is producing audible artifacts in 2-band mode
because the program forces it to do more than approximately 6 dB of extra gain re-
duction, we suggest using 5-band mode instead. This will automatically re-equalize
such program material and will de-ess extremely sibilant program material less ob-
trusively than the loudness controller will. The 5-band compressor will typically con-
trol loudness within a 2 dB window even with the loudness controller defeated. Al-
though the loudness controller is available in 5-band mode, you may find that you
processing chains.
control sets the subjective loudness level at which the
OPERATION
and
ULTIBAND
3-51