Aphex Systems 720 manual Model 722 Broadcast Dominator, Applications

It should be noted that there is only one ALT circuit controlling both channels equally. This provides global stereo balance and imaging by assuring that both channels always limit at the same threshold. This does cause an interaction if the Dominator ll is used as two independent channels. Therefore, we do not recommend such a practice.

Model 722 Broadcast

Dominator

Pre-emphasis is an equalization curve expressed as a time value based on the ratio of a resistor and capacitor. The higher the value, the greater the equalization. It has been employed as a noise reduction technique for broadcast and transmission links. There are primarily two world standards- 50 and 75 microseconds.

Model 722

The Dominator ll Model 722, has separately switchable pre and de-emphasis curves. When pre-emphasis is switched in, either 50 or 75 microseconds, the equalization curve is added after the input stage and before the limiters. When de-emphasis is switched in, the complementary de-emphasis curve is inserted after the final clipper and before the output stage.

When both pre and de-emphasis are switched in and when input is below threshold, the frequency response of the output is flat. As the input increases above threshold, the output takes the shape of the de-emphasis curve.

When both pre and de-emphasis are switched out, the Model 722 works exactly like the Model 720.

Applications

Sound Contracting — protection of amplifiers and speakers from overload; increased loudness; maximized use of available power.

Recording — preventing sudden peak overload of mixer or recorder; tightening tracks; special effects, etc.

Mixing — used as a program limiter, the Dominator ll will keep a track “rock steady” for “layering” into or on top of a mix.

Digital Sampling — obtaining good full scale samples free from peak overload, i.e. no more missed samples. Digital Recording — insuring clean recording by stopping clipping of peaks and overshoots. Maximizes bit usage for less distortion.

Satellite Uplink — Modulation control to prevent splattering on high frequency audio, gives reduced distortion, better signal-to-noise.

Broadcasting — AM and FM modulation control for increased loudness; cleaner sound; use in production for greater consistency of tapes, punchier voice-overs. Location Film Shoots — anti-crash for dialog and sound effects recording.

Post Production — Soundtrack peak control; managing difficult dialog; controlling transient sound effects.

Optical Recording and Transfer — prevents “valve clash”, gives higher average level with low distortion and better signal-to-noise performance.

Analog Disk Mastering — peak control for high allowable average cutting levels; less limiter degradation to the program; brighter, punchier sound. C/D Mastering — peak and density control for more accurate digitizing, cleaner sound requiring less error correction on playback; no limiter induced sound degradation.

STL & Phone Line Driver — maximize signal-to-

noise without overload distortion.

Video and Audio Tape Duplication — “Hotter”

transfers without saturation.

	RCH DENSITY - adjusts	RANGE - when switched
	the Relative Crest Height	to the “.10” position it adds	LIMITING (meter) -
ch	(RCH) of the output.	a 10dB boost in the input
	The higher the RCH	and a 10dB cut in the	displays the limiting
nd of	(clockwise) the louder the	output. The PEAK CEILING	(from gain reduction
	output. The lower the	is therefore 10dB lower	and clipping) in the
nel	RCH (counter-clockwise)	than the settings shown	channel with the
f	the lower the average	on COARSE and FINE	greatest amount of
	level in the output.	controls.	limiting.

e	FINE - adjusts the
n	PEAK CEILING by
m	±1dB in 0.2dB steps.

COARSE - switches the PEAK CEILING in 2dB steps from +2

POWER - switches AC mains on and off. “Off” position engages