Table of Contents
Advertisement
3-30
OPERATION
ORBAN MODEL 1101
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
control is turned down—fast peak
-M
ESS
ORE
limiting decreases while bass punch and transparency improve. Therefore, exploring
various Less-More settings is worthwhile with
, because, for many circum-
IMPACT
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 many 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-
rial. For maximum punch, it uses the HARD bass clipper at higher L
-M
set-
ESS
ORE
tings.
This amount of bass may be excessive with certain consumer systems (particularly
"boom-boxes") that already have substantial bass boost. Use it with care.
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 broadcasters
that feel that the LOUD-HOT presets are too aggressive, but that think that the
ROCK presets are insufficiently loud for their market position.
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 useful for creating a uni-
form, intelligible sound from widely varying source material, particularly source ma-
terial that is "hot from the field" with uncontrolled quality.
Advertisement
Table of Contents
