Orban OPTIMOD-FM 8600S, Operating Manual

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OPTIMOD-FM DIGITAL OPERATION
3-33
increasing the gain reduction in both the 3.7 kHz and 6.2 kHz bands. You may wish
to compensate for this effect by turning up the
B
RILLIANCE
control.
Use the mid frequency equalizer with caution. Excessive presence boost tends to be
audibly strident and fatiguing. Moreover, the sound quality, although loud, can be
very irritating. We suggest a maximum of 3 dB boost, although 10 dB is achievable.
In some of our factory presets, we use 3 dB boost at 2.6 kHz to bring vocals more up-
front.
High Frequency Parametric Equalizer is a parametric equalizer whose boost and
cut curves closely emulate those of an analog parametric equalizer with conven-
tional bell-shaped curves.
HIGH FREQ determines the center frequency of the equalization, in
Hertz. The range is 1-15 kHz
HIGH GAIN determines the amount of peak boost or cut over a

10 dB
range.
HIGH WIDTH determines the bandwidth of the equalization, in octaves.
The range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric
equalizer, one octave is a good starting point.
Excessive high frequency boost can exaggerate tape hiss and distortion in
program material that is less than perfectly clean. We suggest no more
than 4 dB boost as a practical maximum, unless source material is primar-
ily from compact discs of recently recorded material. In several of our
presets, we use this equalizer to boost the upper presence band (4.4 kHz)
slightly, leaving broadband HF boost to the
B
RILLIANCE
and/or
HF E
NHANCE
controls.
BRILLNCE (“Brilliance”) controls the drive to Band 5. The high frequency limiter and
Band 5 clipper dynamically control these boosts, protecting the final clipper from ex-
cessive HF drive. We recommend a maximum of 4 dB of
B
RILLNCE boost, and most
people will prefer substantially less.
DJ BASS (“DJ Bass Boost“) control determines the amount of bass boost produced
on some male voices. In its default
O
FF
position, it causes the gain reduction of the
lowest frequency band to move quickly to the same gain reduction as its nearest
neighbor when gated. This fights any tendency of the lowest frequency band to de-
velop significantly more gain than its neighbor when processing voice because voice
will activate the gate frequently. Each time it does so, it will reset the gain of the
lowest frequency band so that the gains of the two bottom bands are equal and the
response in this frequency range is flat. The result is natural-sounding bass on male
voice.
If you like a larger-than-life, “chesty” sound on male voice, set this control away
from
O
FF
. When so set, gating causes the gain reduction of the lowest frequency
band to move to the same gain reduction (minus a gain offset equal to the numeri-
cal setting of the control) as its nearest neighbor when gated. You can therefore set
the maximum gain difference between the two low frequency bands, producing
considerable dynamic bass boost on voice.