Quote:
OK, I'll do my best to explain. 
I'll explain from my background. Orban offers Band 2 > Band 1 coupling. Band 3 > Band 4 coupling, and Band 4 > 5 coupling settings. This is what I'm used to so it's what I expect. Here's how it works.
When a band is coupled TO (1, 4, or 5), that band can never have less gain reduction than the band it is coupled FROM. But it *is* allowed to have MORE gain reduction. The idea in the case of Band 4 > Band 5 is to basically turn bands 4 and 5 into a unified band with the additional feature of a sibilance reduction feature in band 5. It is rare to have a song which would have much more energy in bands 1 and 5 than 2 and 4, respectively. But if that happens, we want 1 and 5 to do as much extra GR as necessary. The inverse is NOT true. Because bands 1 and 5 represent the extreme ends of the spectrum, we don't really want them to get any more dense than they already are. In particular, a very dense band 5 is bad on FM, and a dense band 1 gives a nasty rumble and puts a lot of extra energy into the final clipper.
Now, that doesn't mean you have to do it exactly the same way. If there is a better approach, that's fine. You asked what I expected, so I'm telling you.
I should note than in the Optimod 8200, what I described isn't exactly true (but it is in all subsequent Optimods). In the 8200, the gains of bands 4 and 5 were precisely identical with the exception of limiting. The other bands' coupling worked as I described above.
In no case, is there ever interaction between coupling and limiters for their respective bands (that I am aware of).
This is doing interesting things! I've just implemented it for band 2->1 and it doesn't have much impact on (most) music, but on voices it stops the excessive bass that you sometimes get with voice. Cool I'll explain from my background. Orban offers Band 2 > Band 1 coupling. Band 3 > Band 4 coupling, and Band 4 > 5 coupling settings. This is what I'm used to so it's what I expect. Here's how it works.
When a band is coupled TO (1, 4, or 5), that band can never have less gain reduction than the band it is coupled FROM. But it *is* allowed to have MORE gain reduction. The idea in the case of Band 4 > Band 5 is to basically turn bands 4 and 5 into a unified band with the additional feature of a sibilance reduction feature in band 5. It is rare to have a song which would have much more energy in bands 1 and 5 than 2 and 4, respectively. But if that happens, we want 1 and 5 to do as much extra GR as necessary. The inverse is NOT true. Because bands 1 and 5 represent the extreme ends of the spectrum, we don't really want them to get any more dense than they already are. In particular, a very dense band 5 is bad on FM, and a dense band 1 gives a nasty rumble and puts a lot of extra energy into the final clipper.
Now, that doesn't mean you have to do it exactly the same way. If there is a better approach, that's fine. You asked what I expected, so I'm telling you.
I should note than in the Optimod 8200, what I described isn't exactly true (but it is in all subsequent Optimods). In the 8200, the gains of bands 4 and 5 were precisely identical with the exception of limiting. The other bands' coupling worked as I described above.
In no case, is there ever interaction between coupling and limiters for their respective bands (that I am aware of).
And it reduces artifacts. (Those from lower Quality slider settings; as long as band 1 and 2 are at the same level MB introduces no artifacts).
