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3-44
OPERATION
ORBAN MODEL 1101
It is common to set the 2B G
control to approximately –35 dB. Lower settings are
ATE
sometimes useful for musical programming.
BASS CPL ("2B Bass Coupling") is used to set the balance between bass and the rest
of the frequency spectrum.
The two-band compressor processes audio in a master band for all audio above ap-
proximately 200Hz, and a bass band for audio below approximately 200Hz. The
control determines how closely the spectral balance of material below
B
C
ASS
PL
200Hz matches that of the program material above 200Hz.
Settings toward 100% (wideband) make the output sound most like the input. Be-
cause setting the B
control at 100% will sometimes cause bass loss, the most
C
ASS
PL
accurate frequency balance will often occur with this control set between 70% and
90%. The optimal setting depends on the amount of gain reduction applied. Adjust
the B
control until the band 1 and band 2 Gain Reduction meters track as
C
ASS
PL
closely as possible.
With the 2B R
(2B Release) control set to 2 dB/second, setting the B
control
C
EL
ASS
PL
toward 0% (independent) produces a sound that is very open, natural, and non-
fatiguing, even with large amounts of gain reduction. Such settings provide a bass
boost on some program material that lacks bass.
With fast release times, settings of the B
toward 100% (wideband) do not
C
ASS
PL
sound good. Instead, set the B
control toward 0% (independent). This com-
C
ASS
PL
bination of fast release and independent operation of the bands provides the
maximum loudness and density on small radios achievable by the Two-Band struc-
ture. However, such processing may fatigue listeners with high-quality receivers, and
requires you to activate the AGC to control the average drive level into the two-
band compressor, preventing uncontrolled build-up of program density. Instead of
operating the Two-Band structure like this, you should choose a Five-Band preset
instead.
Bass Clip ("Bass Clip Threshold"): See page 3-38.
2B Clip is a compression threshold control that equally affects the bass and master
bands. It sets the drive level look-ahead limiter.
2B High Frequency Limiting sets the threshold of the high frequency limiter in
the Two-Band structure. When this control is set lower, gain reduction does more
high frequency limiting. When this control is set higher, distortion-cancelled clipping
does more high frequency limiting. This control controls the tradeoff between loss
of high frequencies (due to high frequency limiting) and excessive distortion (due to
clipping).
FINAL LIMT ("Final Limit Drive"): See page 3-40.
2B Master Compression Threshold sets the level where gain reduction starts to
occur in the Master (above 200Hz) band of the Two-Band Compressor.
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