3-28
OPERATION
LOUD-HOT
LL
is the low-latency version of
LOUD-HOT
.
LOUD-HOT+BASS
is based on
LOUD-HOT
. It is tuned for the maximum amount of
bass we could add without creating obvious distortion on some program material.
For maximum punch, it uses the
HARD
bass clipper at higher
L
ESS
-M
ORE
settings.
This amount of bass may be excessive with certain consumer radios (particularly
“boom-boxes”) that already have substantial bass boost. Use it with care.
LOUD-HOT+BASS
LL
is the low-latency version of
LOUD-HOT+BASS
.
LOUD+SLAM
is similar to
LOUD-HOT+BASS
, but uses
H
ARD
bass clipping mode with
a
S
HAPE
of 7.6, a
B
ASS
S
LOPE
of 18 dB/octave. It has modified tuning in the band-1
compressor (to control bass clipping distortion that could otherwise be introduced
by Hard bass clipping). This preset provides slamming bass punch, which it trades off
against bass cleanliness on certain program material. Because of the 18 dB/octave
B
ASS
S
LOPE
, its advantages will be appreciated most through radios with good low
bass response.
LOUD-COMPRESSED
retains the full 8500-style distortion-controlling mechanism
for all
L
ESS
-M
ORE
settings. Because this mechanism reduces clipper drive to prevent
waveforms from being clipped excessively, it can pump audibly when being used to
the extreme that it is in this preset. This is a sound texture that some people have
requested.
LOUD-WIDE
provides a large amount of stereo enhancement. “Wide” refers to the
stereo enhancer setting, which is more extreme than the other
LOUD
presets.
LOUD-PUNCHY
is the quietest of the “loud” preset family. It is designed for a
bright, sizzling top end and very punchy lows. It is a good choice for stations that
feel that the
LOUD-HOT
presets are too aggressive, but that think that the
ROCK
presets are insufficiently loud for their market position.
LOUD-BIG
compromises between
LOUD-HOT
and
LOUD-HOT+BASS
. It uses a 12
dB/octave bass equalizer slope to achieve punchy bass that still has enough mid-bass
boost to help smaller radios.
LOUD-FAT
has dramatic punch on percussive material and a very fat-sounding low
end, plus outstandingly effective distortion control. It avoids overt bass distortion
despite the full bass sound. It is slightly quieter than the loudest of the “loud” pre-
set family.
NEWS-TALK:
This preset is quite different from the others. It is based on the fast
multiband release time setting, so it can quickly perform automatic equalization of
substandard program material, including telephone. It is very useful for creating a
uniform, intelligible sound from widely varying source material, particularly source
material that is “hot from the field” with uncontrolled quality. It extensively exploits
distortion control to achieve a very clean, highly compressed, but unclipped sound
quality.
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