English Manual Last update: 2013-10-21 DB4 / DB8 MKII Algorithms
About this manual 1 Introduction 3 DYNAMICS PROCESSING 5 MDX 5.1 7 Multiband 5.1 17 EQ + DELAY 25 EQ/Delay 8 27 FORMAT CONVERSION 31 DMix 33 Downconvert 5.1 41 Unwrap HD 47 UpCon HD and UpCon Plus 53 LOUDNESS CORRECTION 61 ALC 5.
About this manual About this manual This manual will help you learn understanding and operating your TC product. This manual is available in print and as a PDF download from the TC Electronic website. The most current version is always from the TC Electronic website. To get the most from this manual, please read it from start to finish, or you may miss important information. To download the most current version of this manual, visit http://www.tcelectronic.
About this manual 2 DB4 / DB8 MKII Algorithms
Introduction Introduction The DB4 / DB8 MKII Algorithms Manual contains information about the processing performed by DB4/DB8 MKII. For information about setup, general use, routing and presets, please consult the DB4/DB8 MKII Operations Manual. DB4 and DB8 MKII are capable of running multiple, independent processors simultaneously. One such processor is called an “Engine”.
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MDX 5.1 MDX 5.1 Introduction MDX 5.1 is a high resolution dynamic range processor for multichannel signals. It may also be used to process for mono or stereo, thereby making changes or adjustments unnecessary. Its combination of low level lift, multi-band structure, output limiting and extensive controls offers the most sophisticated dynamic range translation capabilities in the professional audio industry today. Not surprisingly, MDX 5.
MDX 5.1 The jumping level problem from analog TV will become bigger if stations transmit feature films with a less suitable dynamic range than today, because film fall way outside the Dynamic Range Tolerance of the average consumer under her domestic listening conditions. Consequently, dynamic range restriction must take place either at the station, or inside the consumer’s receiving device. Dynamic range translation should deal with both overly soft and overly loud parts.
MDX 5.1 Tip: Use the Input Gains as overload protected level trims in a critical realtime system, such as broadcast, OB or live music. On the Link pages, the 5 Main channels (L, C, R, SL and SR) can be linked in numerous ways. The concept is to assign a channel to a Sidechain. If all channels are assigned to the same Sidechain, processing is identical on all of them. If a channel is assigned to a different Sidechain, processing on that channel may be different from processing on the other channels. Fig 3.
MDX 5.1 frequency band is currently attenuated by 2 dB, while the Mid and Hi bands are at 0 dB gain. Fig 5. MDX 5.1 Level Diagram for different Steer and Threshold settings. “Defeat Threshold” relates to DXP Threshold which relates to “Ref Level”. “Limit Threshold” only relates to Digital Full Scale output level. The Ref Level parameter on the Main page sets the unity gain point for all channels (unless gain offsets are applied), see Fig 5.
MDX 5.1 In general, and especially for feature film remapping in ingest, start by processing all channels by the same amount. This can be achieved by assigning all channels to Sidechain 1, or by using different sidechains with identical settings. Then conclude if speech in the center channel, ambience in the surrounds or activity in the LFE channel etc. needs special attention and processing.
MDX 5.1 Level, the gain is +3 dB for the Center channel, but unity (0 dB) for the others. At low level (35 dBFS and below), the number after the “D” in the preset title indicates the amount of low level boost. For example, the preset “Film Curve D6” adds 9 dB of low level gain to the Center channel, but 6 dB of low level gain to the rest of the channels. MDX 5.1 algorithm – main page The dB steps between RMS and Peak are the dBs needed for a peak-value to override RMS measurement.
MDX 5.1 MDX 5.1 algorithm – link control page keeping the channel time-aligned to the other (processed) channels. Sidechain Control Range – for the five main channels: – Unprocessed – Side Chain 1 – Side Chain 2 – Side Chain 3 Range – for the LFE channel: – Unprocessed – LFE MDX 5.1 algorithm – link control page MDX 5.1 algorithm – link feed page The Sidechain assignment possibilities in the MDX 5.1 are very comprehensive.
MDX 5.1 The Sum settings will add the Input to the sidechain, whereas the Max settings only will contribute to the sidechain if the level exceeds the other Input channel levels. MDX 5.1 algorithm – DXP page MDX 5.1 algorithm – Limiter – soft clip page Softclip MDX 5.1 algorithm – DXP page Sidechain Fader Groups The DXP pages reveal separate controls for Sidechain 1 to 3 plus LFE.
MDX 5.1 Threshold Range: -12 dB to Off -6 to 0 dB in 0.1 dB increments -12 to -6 in 0.5 dB increments Brickwall limiter for the five channels. Threshold is always relative to 0 dBFS. LED on each Output meter indicates when Limiter is active. Release Range: 0.01 to 1.00 seconds Release time for the Limiter. Ceiling Range: -0.10 dB to 0 dB Fine-tuning parameter setting the Ceiling for the Limiter. The Ceiling parameter prevents the Output signal from exceeding the adjusted Limiter Threshold.
MDX 5.
Multiband 5.1 Multiband 5.1 algorithm – main page Multiband 5.1 The inputs and outputs of this algorithm are distributed as follows: Input L R C LFE SL SR E1 E2 E3 E4 Output L R C LFE SL SR Introduction The Multiband 5.1 algorithm is a multi-channel, multi-band optimizer, with Limiters and extensive possibilities to assign channels to multiple sidechains. Four-band dynamics are available for 5.1 processing. With the Multiband 5.1 it is possible to integrate dynamics processing for 5.
Multiband 5.1 Performance Settings Multiband 5.1 algorithm – side chain control page Crest Range: Peak, 6 dB, 10 dB, 12 dB, 14 dB, 16 dB, 20 dB, 24 dB, RMS Select compression method between RMS and PEAK. The dB steps between RMS and Peak are the dBs needed for a peak-value to override RMS measurement. Nominal Delay Range: 0 to 15 ms (<2 ms in 0.1 ms steps. >2 ms in 0.5 ms steps) Sets the nominal Delay of the signal compared to the Sidechain signal.
Multiband 5.1 Setting a channel to unprocessed will preserve the processing delay through the algorithm, keeping the channel time-aligned to the other (processed) channels. The Sum settings will add the Input to the sidechain, whereas the Max settings only will contribute to the sidechain if the level exceeds the other Input channel levels. Side Chain Control Multiband 5.
Multiband 5.1 Release Range: 20 ms to 7 sec. Sets the time it takes for the Expander to release its attenuation of the signal when the signal exceeds the Threshold again. “LFE” parameters These parameters are equivalent to the “LFE” Threshold, Range, Ratio, Attack and Release parameters. Multiband 5.1 algorithm – Expander – L M H page Attack Range: 0.
Multiband 5.1 Threshold Range: -25 dB to 20 dB (in 0.5 dB steps) Sets the Threshold level at which the Compressor starts to operate. The Threshold parameter relates to the Reference Level setting. Multiband 5.1 algorithm – Compressor – All LFE page Example: If the Reference Level is set to -18 dBFS, a Threshold setting of -4 dB, will cause the compressor to start operating at -22 dBFS. Gain Range: Off, -18 dB to 12 dB in 0.5 dB steps. Adjusts the gain after the Compressor.
Multiband 5.1 This page holds all Compressor Threshold, Range, Ratio, Attack and Release parameters for the Lo, Mid and Hi bands. Multiband 5.1 algorithm – full Limiter page Limiter The Limiter page is divided into three Sub-pages. One covering the Softclip section, one for the Full Range Limiter and one for the LFE Limiter. Generic parameters in this algorithm: Meter Zoom Press Meter Zoom to decrease meter range and have a more accurate metering. Multiband 5.
Multiband 5.1 Multiband 5.1 algorithm – LFE Limiter page Multiband 5.1 algorithm – output page Multiband 5.1 algorithm – LFE Limiter page Multiband 5.1 algorithm – output page LFE Limiter Trim Levels Threshold Range: -12 to +3 dB -6 to + 3 in 0.1 dB increments -12 to -6 in 0.5 dB increments Brickwall limiter for the LFE channel. Threshold is always relative to 0 dBFS. LED on each Output meter indicates when limiter is active. Output trims Range: 0 dB to -12 dB in 0.
Multiband 5.
Multiband 5.
Multiband 5.
EQ/Delay 8 EQ/Delay 8 EQ/Delay 8 is a multi-channel EQ and Delay algorithm, with built-in flexibility to cover several different applications and I/O format setups. The inputs and outputs of this algorithm are distributed as follows: Input 1 2 3 4 5 6 7 8 E1 E2 E3 E4 Output 1 2 3 4 5 6 7 8 EQ/Delay 8 – main page Link buttons When “4 Stereo” is selected, four individual link buttons are available for linking in stereo pairs or leaving the channels for individual operation (dual mono). When “5.1 & ch.
EQ/Delay 8 Output Level Range: Off, -120 to 0 dB For each of the eight Outputs, separate Output level controls are available. Type Selector Press Type and use faders 1 to 4 to select filter types. For Lo and Hi filters select between filter types: Parametric, Notch, Shelve and Cut. Delay in milliseconds Range: 0 to 1000 ms. For each of the eight channels, a Delay measured in milliseconds can be added for aligning purposes. The Delay can be changed seamlessly on the fly.
EQ/Delay 8 Cut Filter – Bessel type Type Press and use Faders 1 to 4 to set BW value for each of the 4 EQ bands. Range for the Notch filter: – – – – Lo BW: 0.02 to 1 oct Mid1 BW: 0.02 to 1 oct Mid2 BW: 0.02 to 1 oct Hi BW: 0.02 to 1 oct Range for the Parametric filter: Cut Filter – Butterworth type – – – – Lo BW: 0.1 to 4 oct Mid1 BW: 0.1 to 4 oct Mid2 BW: 0.1 to 4 oct Hi BW: 0.
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DMix DMix DMix algorithm – main page DMix: Optimum Mobile Platform Delivery In just one engine, DMix can downmix, loudness process and true-peak limit any mono, stereo or 5.1 source. Input formats are dealt with automatically without the need for metadata, downmix takes place at overload-proof 48 bit resolution, loudness processing complies with ATSC or EBU standards, and transparent transcoding keeps the output perfectly conditioned for mobile TV, iPod or IPTV.
DMix true-peak limiting performed at 48 bit, fixed point precision. This enables the downmix gain to be set freely without worrying about overload or the loss of resolution. For extra emphasis on the Center channel, the gain may be run all the way up to 0.0 dB still without any risk of internal or output overload. Surround Gain Range: Off, -12.0 to 0.0 dB Downmix gain for the Surround inputs relative to L and R front. Default Surround gain would be between -3.0 and -6.
DMix the Loudness Control cannot attenuate the signal at all. Max Gain Range: 0 to +20 dB This is the maximum gain the Loudness Control is allowed to perform. If set to 0.0 dB, the Loudness Control cannot add gain to the signal at all. Freeze Level Range: -10 to -40 dB Sets the minimum level required before the Loudness Control will start adding more gain. It would typically be set to avoid boosting signals considered noise.
DMix the Output level is close to the Target Level, gain changes are relatively slow. Parametric Filter – Broad type The Average Rate offsets all time constants to be faster or slower. Values below 1 dB/Sec produces a gain change gating effect when the Output level is already in the target zone, while values above 4 dB/Sec will add density to sound. Slow Window Range: 0 to 20 dB The slow window is the area around the set Target Level. Within the slow window, the Loudness is only gently controlled.
DMix Cut Filter – Bessel type Type Press and use Faders 1 to 3 to set BW value for each of the 4 EQ bands. Range for the Notch filter: – Lo BW: 0.02 to 1 oct – Mid BW: 0.02 to 1 oct – Hi BW: 0.02 to 1 oct Range for the Parametric filter: – Lo BW: 0.1 to 4 oct – Mid BW: 0.1 to 4 oct – Hi BW: 0.
DMix Range: – Xover – Xover – Xover – Xover 1: Off to 1,6 kHz 2: Off to 4 kHz 3: 100 Hz to Of, 4: 250 Hz to Off Defeat Thresh Range: -3 to -30 dB This is a unique control which holds the gain from the multiband compressor below a certain threshold. No matter the spectral shaping applied from multiband system, below the Defeat Threshold, the frequency response is flat and gain is unity. Defeat Threshold is relative to Compressor Threshold, which is relative to Reference Level.
DMix levels, e.g. when preparing film or concerts for domestic or noisy environment listening. Try setting the Steer and/or Threshold parameters differently in the bands to hear the effect. High Steer values add more detail gain than low values, but remember that Threshold has to be negative to add detail gain at all. DXP Threshold relates to the Reference Level set on the Main page. To disable DXP detail gain at very low levels, use the Defeat Threshold and Defeat Ratio controls.
DMix bution, and not to process more than necessary for a certain broadcast platform. Don’t take pride in being the loudest station, but in being the best sounding and most consistent one. For broadcast stations early in the process of converting production to loudness based criteria, a relatively high Loudness adjustment Ratio may be initially needed, for instance 1:2, in order to avoid too much loudness fluctuation during transmission.
Downconvert 5.1 Downconvert 5.1 Introduction Downconvert 5.1 is an algorithm offering mixdown functionality of different multi-channel formats to LCRS, Stereo or Mono mixes. LFE (sub) channels can also be Extracted or Distributed Input Calibration noise-tone Level Trim Delay > Solo/Mute > Bass > Management Phase Inv. The inputs and outputs of this algorithm are distributed as follows: Input L R C LFE SL SR E1 E2 E3 E4 Output L R C LFE SL SR Downconvert 5.1 algorithm – main page to and from the 5.
Downconvert 5.1 Downconvert 5.1 algorithm – format page Mix Levels From L/R Range: -100 dB to 0 dB Sets the Input level from the Left and Right front channels. This parameter is only available when Output is set to Mono or Stereo. From Center Range: -100 dB to 0 dB Sets the Input level from the Center channel. Downconvert 5.1 algorithm – format page The format conversion block enables you to down-mix 5.1 signals to LCRS, Stereo or Mono mix’s including Limiter function.
Downconvert 5.1 Release Range: 10 to 1000 ms Sets the Release time for the selected Limiter. Downconvert 5.1 algorithm – bass management page LFE Channel Hi Cut Range: 10 to 200 Hz Sets the frequency for the Hi Cut filter on the LFE channel. Order Range: Off, 2 nd, 4 th order Sets the slope of the LFE Hi Cut filter.
Downconvert 5.1 Downconvert 5.1 algorithm – solo page Output Level Range: Off, -120 to 0 dB For each of the eight Outputs, separate Output level controls are available. Phase Invert Range: On, Off For each of the eight Inputs, the ability to phaseinvert the signal 180 degrees is available. Delay in samples For each of the eight channels, fine-adjustable Delay measured in samples can be added. Downconvert 5.1 algorithm – solo page The Sample Delay is additional to the delay parameter in milliseconds.
Downconvert 5.1 Generator Type Range: Sine (default), PinkNoise WhiteNoise, LPF Pink Noise (Low Pass Filtered Pink noise), HPF Pink Noise (Hi Pass filtered pink noise) This parameter selects the Signal generator type. Sine Frequency Range: 20 Hz to 20 kHz Default: 1 kHz Selects the frequency when Osc. Type is set to Sine. Output Level Output Level (RMS) Range: -60 to 0 dBFS -60 to -6 dB in 1 dB steps -6 to 0 dB in 0.
Downconvert 5.
Unwrap HD Delays may be used… Unwrap HD The inputs and outputs of this algorithm are distributed as follows: Input L R E1 E2 E3 E4 Output L R C LFE SL SR Introduction Unwrap HD in use Unwrap HD measures phase, delay and spectral differences between a pair of stereo channels to create a 5.1 result. For different program material there will be different optimum settings that best represent the qualities put into the original mix.
Unwrap HD Then choose between the Contour Styles, and finally apply EQ to the center channel if desired. Unwrap HD algorithm – main page Unwrap HD’s 48 bit EQ can work wonders on most signals and be used to selectively suppress spectral ranges where the L/R width could otherwise get compromised, or to boost selected frequencies to strengthen the center anchor function. Surround page To control the surround channels, decorrelation, EQ and contour controls are provided. First set the Ref.
Unwrap HD Unwrap HD algorithm – center page – For Mid 1 and Mid 2 filters, you can select between the following filter types: Parametric and Notch. Freq Press Freq and use Faders 1 to 4 to adjust frequency for each of the four bands. – – – – Range Range Range Range – – – – Lo band: 20 Hz to 5 kHz Mid1 band: 20 Hz to 20 kHz Mid2 band: 20 Hz to 20 kHz Hi band: 500 Hz to 20 kHz Unwrap HD algorithm – center page Gain Press Gain and use Faders 1 to 4 to adjust gain for each of the four EQ bands.
Unwrap HD Range for the Cut filter: EQ – Lo BW: Bessel or Butterworth – Hi BW: Bessel or Butterworth The EQ for the Center channel features fourband parametric EQ with high- and low-pass filters switchable between Notch, Parametric, Shelving and Cut filters. Unwrap HD algorithm – surround page Basic operation – Select Freq, Gain or Type to access the same parameter for the four EQ bands. – Select Lo or Hi to access the three parameters for the individual EQ band.
Unwrap HD Type Press and use Faders 1 to 4 to set BW value for each of the 4 EQ bands. Range for the Notch filter: – – – – Lo BW: 0.02 to 1 oct Mid1 BW: 0.02 to 1 oct Mid2 BW: 0.02 to 1 oct Hi BW: 0.02 to 1 oct Range for the Parametric filter: – – – – Lo BW: 0.1 to 4 oct Mid1 BW: 0.1 to 4 oct Mid2 BW: 0.1 to 4 oct Hi BW: 0.
Unwrap HD Fader Range: -120 to 0 dB Fades all six Outputs simultaneously. Preserves the individual Output levels until either the max. or min. value is reached.
UpCon HD and UpCon Plus UpCon HD and UpCon Plus UpCon algorithm – main page Introduction UpCon HD is an automatic, real-time 5.1 upconversion audio processor for DB8 and DB4. It continuously monitors the format of the incoming audio, and if the signal falls back from a true 5.1 to stereo, UpCon HD seamlessly cross-fades into a convincing 5.1 surround up-conversion without adding any interruptions or artifacts.
UpCon HD and UpCon Plus UpCon algorithm – center page For Mid 1 and Mid 2 filters select between filter types: Parametric and Notch. Freq Press Freq and use Faders 1 to 4 to adjust frequency for each of the four bands. – – – – Range Range Range Range – – – – Lo band: 20 Hz to 5 kHz Mid1 band: 20 Hz to 20 kHz Mid2 band: 20 Hz to 20 kHz Hi band: 500 Hz to 20 kHz Gain Press Gain and use Faders 1 to 4 to adjust gain for each of the four EQ bands.
UpCon HD and UpCon Plus – Lo BW: Bessel or Butterworth – Hi BW: Bessel or Butterworth UpCon algorithm – surround page Focus Where the Decorrelate parameter positions the source material, the Focus parameter will enhance or attenuate the perceived position. Tone Once Decorrelation type and Focus is set the Tone may further enhance or smoothen the surrond information.
UpCon HD and UpCon Plus Output Levels Individual output levels or all channels. sert/redundancy input. All changes are applied doing smooth crossfades. The “Fader” level allows for simultaneous attenuation of all channels using a single fader. To select this mode of operation, adjust the Auto Processing parameter to “Main 5.1 Priority” and route incoming 5.1 to inputs 1 to 6, incoming stereo or LtRt to inputs 7 to 8. UpCon applications From software version 2.
UpCon HD and UpCon Plus When UpCon is up-converting, the green UpCon indicator next to the output meters is lit. UpCon algorithm – auto page Fig 1. UpCon Input Routing. Green* inputs are used for Stereo and LtRt with Constant Input routing. Blue* inputs are used for Stereo and LtRt signals with Alternating Input routing. In both modes, 5.1 input signals are fed to the 5.1 inputs. * To see colors, download the PDF version of this manual from tcelectronic.
UpCon HD and UpCon Plus cross-fades into up-conversion based on the Aux inputs. Note that this automation mode gives priority to the Aux input, though the 5.1 inputs can be used simultaneously with the Aux inputs to add to the up-conversion (“UpCon+” functions). When no signal is present on the Aux inputs, up-conversion is bypassed. Dissolve Sets the cross-fade time between 5.1 and upconversion. The green UpCon indicator reads out the up-conversion status before the Dissolve time is applied.
UpCon HD and UpCon Plus amount of additional studio sound to the Center channel.
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ALC 5.1 ALC 5.1 ALC 5.1 is an ITU-R BS.1770 Loudness Correction algorithm. Introduction Years of research and standardization work on loudness and true-peak level has enabled TC to design high resolution, low latency loudness measurement and control equipment such as this new Automatic Loudness Correction processor, ALC5.1. In broadcast, digitization is driving the number of AV channels and platforms up, while the total number of viewers remains roughly the same.
ALC 5.1 Presets ALC5.1 presets are found in the “Loudness, Multichannel” Engine Factory Bank. ALC5.1 presets have “Limit” in their name and perform only negative loudness and peak level correction. These presets cannot add gain. ALC5.1 presets have “Correction” in their name. They may perform both positive and negative gain correction depending on the loudness of the signal. ALC5.1 algorithm – basic use Fig 2 The example shows transition jumps between programs 1) without ALC5.1 and 2) including ALC5.
ALC 5.1 Preset Title The Main page of any algorithm in DB4 and DB8 displays the title of the current preset. Click on the Name field to edit a preset title, and Store the changes if you wish to keep them. the combined result stay the same, all channels should sum at +3.0 dB. (For example, all channels except for Center at 0.0 dB, and Center at +3.0 dB. Or L/R at 0.0 dB, and all others at +1.0 dB). Input Level Input gain applied to all 5.1 channels before loudness detection or processing is applied.
ALC 5.1 and Limit Threshold is a quality defining factor. If the difference is too small, wide dynamic range material may be hampered. See Limit Threshold details in the next section and Fig 6, 9, 10 and 11. In broadcast environments working against a fixed dialnorm value, Target Level should typically be set 2 to 4 dB higher than the permanent Dialnorm value. This will ensure the best listening result if a consumer engages reproduction processing. Stereo Offset While the BS.
ALC 5.1 Loudness Measure Controls which loudness model is used for the measurement. Select between TC Grid and the ITU-R BS.1770 standard model. ALC5.1 algorithm – Limit page Fig 7 Slow Window and Freeze parameters. Gain corrections happen more slowly when program level is already within the Slow Window. The loudness has to drop below the Freeze Level for the duration of the Freeze Hold setting before unity gain is gradually reinstated.
ALC 5.1 Trim parameters are the perfect place to change the Target Level for broadcast platforms that require a higher average than in the -24 to -22 LFS range. Center are limited. If the threshold is exceeded on the LFE channel, only that channel is limited. Limit Threshold Sets the Limit Threshold for all limiters. The limiters in ALC5.1 use true-peak detection as per ITU-R BS.1770.
ALC 6 ALC 6 The chapter on the ALC 6 algorithm will be added to this manual shortly. Please check the TC website for the most current version of this manual.
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ATX / DX ATX / DX The inputs and outputs of this algorithm are distributed as follows: Input L R Output L R E1 E2 E3 E4 Introduction ATX and DTX algorithms combine BS.1770 based loudness correction, 5-band processing, width control and true-peak limiting into comprehensive, low latency processors for stereo use. Should AV sync be needed, these algorithms also include 24 bit delay capable of being adjusted without noise being generated, while audio is passed.
ATX / DX Phase Inv Range: Normal / Inverted Press to phase invert channels A, B or both. ATX / DX algorithm – Loudness page Delay Range: 0 to 4000 ms Delay alignment of the Input channels. Depending on selected Configuration type, either one common Delay setting or individual delay settings are available. Delay Unit Range: ms, 24 fps, 25 fps, 30 fps With this parameter it is possible to select which unit the Delay parameter should be shown in.
ATX / DX frozen for the duration of the Hold time. When the Hold period expires, the Gain Correction falls back to 0 dB gain. Slow Window Range: 0 to 20 dB The slow window is the area around the set Target Level. Within the slow window the Loudness is only gently controlled. When the signal exceeds the limits of the Slow Window the Loudness is treated more radically. Depending on the set Average Rate and Ratio. Loudness Measure Select between TC GRID or standard ITU BS.1770.
ATX / DX filters. The needle sharp notch filter has a range down to 0.01 octave and the shelving filters has a variable slope, ranging from gentle 3 dB/oct over 6 and 9 to 12 dB/oct. Cut filters are switchable between 12 dB/oct maximum flat amplitude (Butterworth) or flat group delay (Bessel) types.
ATX / DX Gain Press Gain and use Faders 1 to 3 to adjust gain for each of the four EQ bands. ATX / DX algorithm – 5 band page Range for the Parametric, Shelve and Cut type: – Lo Gain: -12 dB to +12 dB – Mid Gain: -12 dB to +12 dB – Hi Gain: -12 dB to +12 dB Range for the Notch filter: – Lo Gain: -100 dB to 0 dB – Mid Gain: -100 dB to 0 dB – Hi Gain: -100 dB to 0 dB Type Press and use Faders 1 to 3 to set BW value for each of the 4 EQ bands. Range for the Notch filter: – Lo BW: 0.02 to 1 oct – Mid BW: 0.
ATX / DX Thresholds A & B Range: -25 to 20 dB Thresholds and the overall All Threshold. Press this button to access the five individual band Threshold is relative to Reference Level set at the Main page. low levels, where noise is dominant, and at loud levels where sibilance would become a problem. Besides from being effective on speech, DXP mode can be used in mastering to bring up low levels, e.g. when preparing film or concerts for domestic or noisy environment listening.
ATX / DX ATX / DX algorithm – DTX Limit page The Threshold is relative to 0 dBFS, not to the Reference Level set on the Main page. The output limiter detects and protects against true-peak signals as defined in ITU-R BS.1770 and in EBU R128. This precision limiter is based on 48 bit processing and utilizes adaptive time constant for low distortion operation. Fader A & Fader B Range: Off to 0 dB Fader function on the Output. When Dual Mono configuration is selected, individual Output faders are available.
ATX / DX converters, filters, data reduction etc.) may necessitate a more conservative HF Offset, targeting, for instance, 1 or 2 dB below the theoretical roll-off. When the Emphasis parameter is set to Off, HF Offset has no effect. Output Range: Off, -100 dB to 0 dB Output level control.
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LM6 LM6 LM6 represents a quantum leap away from simply measuring audio level to measuring perceived loudness. The old level method is responsible for unacceptable level jumps in television, for music CDs getting increasingly distorted, and for different audio formats and program genres becoming incompatible: Pristine music tracks from the past don’t coexist with new recordings, TV commercials don’t fit drama, classical music or film and broadcast doesn’t match.
LM6 tion with long-term descriptors from production onwards, is a transparent and well sounding alternative to our current peak level obsession. Not only for music, but also in production for broadcast or film. The engineer, who may not be an audio expert, should be able to identify and consciously work with loudness developments within the limits of a target distribution platform, and with predictable results when the program is transcoded to another platform.
LM6 conditions etc using normal DB4 and DB8 preset handling procedures. Radar page Current Loudness: Outer Ring The outer ring of the Radar page displays Momentary loudness. The 0 LU point (i.e. Target Loudness) is at 12 o’clock, and marked by the border between green and yellow, while the Low Level point is marked by the border between green and blue. The “0 LU Equals” and “Low Level Below” parameters are found on the Setup page.
LM6 rely on this parameter may take place in the consumer’s receiver. Therefore, its value should not be far off target, or the consumer results become highly unpredictable. LM6 algorithm – main page Program Loudness in LM6 is directly compatible with Dialnorm in AC3. Most broadcast stations work with a fixed dialnorm setting, for instance –23 LUFS. This would be the Program Loudness target level for any program.
LM6 This may be regarded as initial production guidelines: – HDTV and digital radio: Stay below LRA of 20 LU. – SDTV: Stay below LRA of 12 LU. – Mobile TV and car radio: Stay below LRA of 8 LU. Remember to use LRA the other way around too: If there is an ideal for a certain genre, check its LRA measure, and don’t try go below it. LRA should not be used for Limbo. Allow programs or music tracks the loudness range they need, but not more than they need.
LM6 Target Range: -36 LUFS to -6 LUFS The parameter specifies the loudness level to generally aim at. It affects a number of functions and displays in LM6, and must be set according to the standard you need to comply with. Current broadcast standards require Target to be in the range between -26 and -20 LUFS. For instance, EBU R128 calls for -23 LUFS while ATSC A/85 specifies -24 LUFS. The Target parameter affects these LM6 functions and displays: 1.
LM6 genres. BS.1770-2 enables the meter reliably to focus on foreground sound, and to transparently control loud commercials. ARIB (Japan) specifies BS.1770-2 in TR-B32. EBU (Europe) specifies BS.1770-2 in EBU R128 and in associated Tech Doc 3341. Target Level in these countries is -23 LUFS or -24 LUFS, measurement gating at -10 LU. United States: Page 11 of ATSC A/85 (May 25, 2011) references ITU-R BS.1770-1, even though BS.1770-2 was in effect at that time.
LM6 Stereo or 5.1 Integrity In this mode, Integrity is given when either Stereo or 5.1 Integrity are detected. This means that the LED is lit when neither valid Stereo nor 5.1 signals are detected. Off The Alert indicator is disabled. LM6 algorithm – stats page LM6 algorithm – stats page The Stats page gives an overview of essential descriptors. Note! The Reset button resets the meters and the log file.
LM6 built into the standard. The final BS.1770 standard included a multichannel annex with a revised weighting filter, R2 LB – now known as “K” weighting – and a channel weighting scheme. These two later additions have been less verified than the basic Leq(RLB) frequency weighting. The other aspect of BS.1770, the algorithm to measure true-peak, is built on solid ground. Inconsistent peak meter readings, unexpected overloads, distortion in data reduced delivery and conversion etc.
LM6 Post Script Control of loudness is the only audio issue that has made It to the political agenda. Political regulation is currently being put into effect in Europe to prevent hearing damage and disturbances from PA systems, and to avoid annoying level jumps during commercial breaks in television. In Australia, something similar may happen.
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