Orban OPTIMOD-PC 1100, Руководство по эксплуатации

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OPTIMOD-PC OPERATION
3-23
For example, we do not attempt to exaggerate high frequency energy in
the GOLD
preset. The highs in recordings of this era are often noisy, dis-
torted, or have other technical problems that make them unpleasant
sounding when the processor over-equalizes them in an attempt to emu-
late the high frequency balance of recently recorded material.
GREGG:
GREGG
and
GREGG OPEN
all use a 200 Hz band1/band2 crossover fre-
quency to achieve a bass sound similar to the classic five-band Gregg Labs FM proc-
essors designed by Orban’s Vice President of New Product Development, Greg
Ogonowski. Dynamically, these presets produce a slight increase in bass energy be-
low 100 Hz and a decrease of bass energy centered at 160 Hz. This bass sound works
particularly well with speakers having good bass response.
In terms of loudness, midrange texture, and HF texture, these presets are similar to
the
LOUD-HOT+BASS presets.
IMPACT: IMPACT is intended for CHR and similar formats where attracting a large
audience (maximizing cume) is more important than ensuring long time-spent-
listening. This is a loud, bright, “major-market” preset that has a great deal of pres-
ence energy to cut through on lower-quality speakers.
Its sound changes substantially as the
L
ESS
-M
ORE
control is turned down—fast peak
limiting decreases while bass punch and transparency improve. Therefore, exploring
various Less-More settings is worthwhile with
IMPACT
, because, for many circum-
stances, this preset will be “over the top” if it is not turned down with Less-More.
INSTRUMENTAL: An alias for the JAZZ preset.
JAZZ: JAZZ is specifically tailored toward broadcasters that play mostly instrumental
music, particularly classic jazz (Coltrane, Mingus, Monk, etc.). It is a quiet preset with
a very clean, mellow high end to prevent stridency on saxes and other horns. It pre-
serves much of the qualities of the original recordings, doing light re-equalization.
The preset produces very low listening fatigue, so it is a good choice for broadcast-
ers that want listeners to stay all day. Note that broadcasters programming “smooth
jazz” should investigate the
SMOOTH JAZZ
preset, which is much louder and more
“commercial”-sounding.
LOUD: There are several LOUD presets.
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. It avoids overt bass distortion despite the full bass sound. It is slightly quieter
than the loudest of the “loud” preset family.
LOUD-HOT is very bright and present, with up-front vocals. Release time is medium.
LOUD-HOT+BASS
is based on
LOUD-HOT
. It is tuned for the maximum amount of
bass we could add without creating objectionable artifacts on some program mate-