OPTIMOD-FM DIGITAL
OPERATION
3-27
Stations programming “smooth jazz” should investigate the
SMOOTH
JAZZ
MX
pre-
set, which is louder and more “commercial”-sounding. There is also an 8500-style
SMOOTH
JAZZ
preset available.
LOUD:
There are several
LOUD
presets, all of which use “8500-style” technology and
typically have 18 ms of latency. We have not made MX versions of the
LOUD
presets;
we retained these presets in the 8600Si mainly for historical reasons. Most were first
introduced with Optimod-FM 8400 and some 8600Si users may have custom presets
based on them.
Before deciding to use a preset in the LOUD family, broadcasters wanting high loud-
ness and dial impact should investigate the
CRISP
MX,
EXTREME
MX,
IMPACT
MX,
and
GREGG
MX
presets.
GREGG
MX
’s loudness is comparable to the
LOUD
presets;
CRISP
MX,
EXTREME
MX,
and
IMPACT
MX
are somewhat louder.
LOUD-HOT
is very bright and present, with up-front vocals. Release time is medium.
In order to get the punchiest and loudest sound, beyond
L
ESS
-M
ORE
=7.0 we pro-
gressively reduce the protection provided by the distortion-controlling mechanism.
So
L
ESS
-M
ORE
settings beyond 7.0 are progressively more risky and can exhibit audi-
ble distortion.
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.
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