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3-24
OPERATION
ORBAN MODEL 1100
rial. For maximum punch, it uses the HARD bass clipper at higher L
set-
-M
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.
LOUD+SLAM is similar to LOUD-HOT+BASS, but uses H
bass clipping mode with
ARD
a S
of 7.6, a B
of 18 dB/octave. It has modified tuning in the band-1
S
HAPE
ASS
LOPE
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
, its advantages will be appreciated most through radios with good low
B
S
ASS
LOPE
bass response.
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.
SPORTS: Similar to NEWS-TALK except the AGC Release (AGC Release Time) is
slower and the Gate Thresh (Gate Threshold) is higher. This recognizes that most
sports programming has very low signal-to-noise ratio due to crowd noise and other
on-field sounds, so the preset does not pump this up as the NEWS-TALK preset
would tend to do.
ROCK: ROCK-DENSE, ROCK-MEDIUM, and ROCK-OPEN are appropriate for gen-
eral rock and contemporary programming. They provide a bright high end and
punchy low end (although not as exaggerated as the URBAN presets). A midrange
boost provides enough presence energy to ensure that vocals stand out. A modest
amount of high frequency coupling (determined by the Band Clipping 3>4 setting)
allows reasonable amounts of automatic HF equalization (to correct dull program
material), while still preventing exaggerated frequency balances and excessive HF
density. Dense, medium, and open refer to the compression density, which is deter-
mined by the release time settings in the AGC and multiband compressor sections.
ROCK-LIGHT has an open sound with little audible compression and less brightness
than the first three presets. It is a compromise between ROCK-OPEN and ROCK-
SOFT.
ROCK-SOFT has a mellow, easy-to-listen-to high frequency quality that is designed
for female-skewing formats. It is also a candidate for "Quiet Storm" and "Love
Songs" light rock or light urban formats.
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