Omnia Audio Omnia.ONE - Manual (Page 86)

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LFLim Rls (Low Frequency Limiter Release)
The release control adjusts how fast the limiter recovers from periods of more gain
reduction when the input audio levels fall. Faster release times (higher numbers) result in
a more dense sound. Even though the Omnia uses program controlled release algorithms,
setting the control for extremely fast release times while driving the limiter hard can
result in ‘pumping’ as well as extremely dense-sounding
(fatiguing) audio. Also,
setting the control for extremely slow release times (especially when combined with fast
Attack times) can cause the limiter to “hang” after a transient, failing to fully recover and
“punching a hole” in its band of frequencies.
LFLim Hold (Low Frequency Limiter Hold Threshold)
During operation of the limiter, the algorithm is watching for very small decreases in
audio level, such as what occurs right after a sudden peak. When this occurs, the limiter
release is temporarily stopped. The result is a drastic reduction in intermodulation
distortion and a more open sound, even though the audio is still quite dense. The level at
which the hold takes place is controlled by the setting of the hold Thresh control. Higher
numbers cause the hold to activate at higher audio levels. The action of limiter hold also
works in conjunction with the preceding AGC gates to reduce noise rush up during
periods of no audio or pauses in speech.
Lim Thresh (Limiter Threshold)
This control sets the threshold where audio peak limiting begins. Lower settings will
increase the amount of limiting and decrease the level going to the following Bass
Clipper (low band only) or main Clipper stage. Conversely, higher settings will raise the
limit threshold, causing less limiting but feeding more level into the following Bass
Clipper (Low band only) or main Clipper stage. (Mid, Presence and High bands)
Care is needed when adjusting this control because higher settings will cause less limiting
to occur, and the resulting uncontrolled peak energy will go to the following clipper
stages instead. Thus, with this control you can artistically trade off the dynamic limiting
against brick wall clipping, as each has its own “sound.”
As the limiter threshold is lowered, (made more negative) the peak output level of the
limiter is reduced. The signal in that band won't hit the clipper as hard, and you'll notice
more action on the limiter bargraph for that band. In fact, instead of reducing the output
of one of the audio bands in the Final Mixer section, you could instead “dynamically
reduce” the level in that band (which also increases density in that band) by lowering the
limiter threshold.
When adjustments are made to limiter thresholds, start by making adjustments in 0.5dB
steps. Reducing the threshold too much can cause the system to create an effect that
“sucks out” the frequencies in that band. Conversely, the opposite (raising the threshold)
will create an exaggerated effect by over-enhancing certain frequency ranges, as well as
causing increased distortion, since excessive levels from that band will reach the
following clipper stage.
Usually, the limiter thresholds are adjusted as a “fine polish” on the final sound. If you
are unsure about how to use the Limit Thresholds, then we recommend that they be left
at their well-researched factory settings.
<-Exit
Click on this option to return to the Adjust Processing submenu