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OPERATION
fied Factory Programming Preset with your custom equalization. Of course, you can
also modify the Factory Preset (with Basic or Advanced Modify) before you create
your User Preset.
In general, you should be conservative when equalizing modern, well-recorded pro-
gram material. This is particularly true with general-purpose video programming.
Except for B
, most of the factory presets use less than 3 dB of equalization.
G
ASS
AIN
Bass Shelf Controls, the Five-Band structure's low bass equalization controls, are
designed to add punch and slam to rock and urban music. They provide a parametric
shelving equalizer with control over gain, hinge frequency, and slope (in dB/octave).
BASS FREQ sets the frequency where shelving starts to take effect.
BASS GAIN sets the amount of bass boost (dB) at the top of the shelf.
BASS SLOPE sets the slope (dB/octave) of the transition between the top
and bottom of the shelf.
The moderate-slope (12 dB/octave) shelving boost achieves a bass boost that is more
audible on smaller receivers, but which can sound boomier on high-quality receivers
and home theater systems. The steep-slope (18 dB/octave) shelving boost creates a
solid, punchy bass from the better consumer receivers and home theater systems
with decent bass response. The 6 dB/octave shelving boost is like a conventional
tone control and creates the most mid-bass boost, yielding a "warmer" sound. Be-
cause it affects the mid-bass frequency range, where the ear is more sensitive than it
is to very low bass, the 6 dB/octave slope can create more apparent bass level at the
cost of bass "punch."
There are no easy choices here; you must choose the characteristic you want by
identifying your target audience and the receivers they are most likely to be using.
Often, you will not want to use any boost at all for general-purpose video pro-
gramming because this can exaggerate rumble and other low frequency noise. Ad-
ditionally, large amounts of boost will increase the gain reduction in the lowest
band of the five-band compressor, which may have the effect of reducing some fre-
quencies below 100 or 200 Hz (depending on the setting of the B1/B2 X
trol). So be aware the large fixed bass boosts may have a different effect than you
expect because of the way that they interact with the five-band compressor.
On the other hand, stations specializing in pop music programming will usually want
to employ some bass boost to maintain the punch of this programming, particularly
if urban or rap music is a significant part of the music mix.
Low Frequency Parametric Equalizer is a specially designed equalizer whose
boost and cut curves closely emulate those of a classic Orban analog parametric
equalizer with conventional bell-shaped curves (within ±0.15 dB worst-case). This
provides warm, smooth, "analog-sounding" equalization.
LF Freq determines the center frequency of the equalization, in Hertz.
Range is 20-500Hz.
ORBAN MODEL 1100
con-
OVER
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