Orban Optimod-AM 9400, Operating Manual, Page: 182 / 295

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OPERATION ORBAN MODEL 9400
The Medium Slow settings ( MED and MED2 ) are appropriate for more
adult-oriented formats that need a glossy show-business sound, yet
whose ratings depend on maintaining a longer time spent listening than
do conventional Contemporary Hit Radio (CHR) formats. With the single-
ended noise reduction activated, it is also appropriate for Talk and News
formats. This is the sound texture for the station that values a clean, easy-
to-listen-to sound with a tasteful amount of punch, presence, and
brightness added when appropriate. This is an unprocessed sound that
sounds just right on music and voice when listened to on small table ra-
dios, car radios, portables, or home hi-fi systems.
The Medium Fast settings ( MFAST and MFAST2 ) are ideal for a highly
competitive Contemporary Hit Radio (CHR) format whose ratings depend
on attracting a large number of listeners (high “cume”) but which does
not assume that a listener will listen to the station for hours at a time.
This is the major market competitive sound, emphasizing loudness as well
as clean audio. The sound from cut to cut and announcer to announcer is
remarkably consistent as the texture of music is noticeably altered to a
standard. Bass has an ever-present punch, there is always a sense of pres-
ence, and highs are in perfect balance to the mids, no matter what was
on the original recording.
The Fast setting is used for the
TALK
and
SPORTS
factory programming
formats. Processing for this sound keeps the levels of announcers and
guests consistent, pulls low-grade telephone calls out of the mud, and
keeps a proper balance between voice and commercials. Voice is the most
difficult audio to process, but these settings result in a favorable trade-
off between consistency, presence, and distortion.
It is possible to experiment with this sound for music-oriented program-
ming as well. However, even with these settings, your sound is getting
farther away from the balance and texture of the input. We think that
this is as far as processing can go without causing unacceptable listener
Band Mix
Full Name Advanced Name Range
B2>B1 CPL B2>B1 Coupling 0 ... 100 %
B2>B3 CPL B2>B3 Coupling 0 ... 100 %
B3>B2 CPL B3>B2 Coupling 0 … 100 %
B3>B4 CPL B3>B4 Coupling 0 ... 100 %
B4>B5 CPL B4>B5 Coupling 0 ... 100 %
B1 OUT B1 Output Mix –6.0 … +6.0
B2 OUT B2 Output Mix –6.0 … +6.0
B3 OUT B3 Output Mix –6.0 … +6.0
B4 OUT B4 Output Mix –6.0 … +6.0
B5 OUT B5 Output Mix –6.0 … +6.0
--- B1 On / Off Band On, Band Off
--- B2 On / Off Band On, Band Off
--- B3 On / Off Band On, Band Off
--- B4 On / Off Band On, Band Off
--- B5 On / Off Band On, Band Off
Table 3-9: MB Band Mix Controls