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3-30
OPERATION
ergy in that region. Because the 3.7 kHz band compressor is partially
coupled to the gain reduction in the 6.2 kHz band in most presets (as set
B4>5 C
by the
M
up the
ID
will be increasing the gain reduction in both the 3.7 kHz and 6.2 kHz
bands. You may wish to compensate for this effect by turning up the
B
RILLIANCE
With Two-Band presets, the midrange equalizer will behave much more
as you might expect because the two-band structure cannot automati-
cally re-equalize midrange energy. Instead, increasing midrange energy
will moderately increase the Master band's gain reduction.
Use the mid frequency equalizer with caution. Excessive presence boost
tends to be audibly strident and fatiguing. Moreover, the sound quality,
although loud, can be very irritating. We suggest a maximum of 3 dB
boost, although 10 dB is achievable. In some of our factory music presets,
we use a 3 dB boost at 2.6 kHz to bring vocals more up-front.
High Frequency Parametric Equalizer is an equalizer whose boost and cut curves
closely emulate those of an analog parametric equalizer with conventional bell-
shaped curves.
High Freq determines the center frequency of the equalization, in Hertz.
The range is 1-15 kHz
High Gain determines the amount of peak boost or cut over a ±10 dB
range.
High Width determines the bandwidth of the equalization, in octaves.
The range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric
equalizer, one octave is a good starting point.
Excessive high frequency boost can exaggerate hiss and distortion in pro-
gram material that is less than perfectly clean. We suggest no more than
4 dB boost as a practical maximum, unless source material is primarily
from high-quality digital sources. In several of our presets, we use this
equalizer to boost the upper presence band (4.4 kHz) slightly, leaving
broadband HF boost to the
DJ Bass ("DJ Bass Boost") control determines the amount of bass boost produced
on some male voices. In its default O
lowest frequency band to move quickly to the same gain reduction as its nearest
neighbor when gated. This fights any tendency of the lowest frequency band to de-
velop significantly more gain than its neighbor when processing voice because voice
will activate the gate frequently. Each time it does so, it will reset the gain of the
lowest frequency band so that the gains of the two bottom bands are equal and the
response in this frequency range is flat. The result is natural-sounding bass on male
voice. This is particularly desirable for most video programming.
If you like a larger-than-life, "chesty" sound on male voice, set this control away
from O
. When so set, gating causes the gain reduction of the lowest frequency
FF
band to move to the same gain reduction (minus a gain offset equal to the numeri-
cal setting of the control) as its nearest neighbor when gated. You can therefore set
the maximum gain difference between the two low frequency bands, producing
control), tuning
OUPLING
G
control will decrease energy in the 6.2 kHz band—you
AIN
control.
B
RILLIANCE
position, it causes the gain reduction of the
FF
ORBAN MODEL 1100
M
F
to 2-4 kHz and turning
ID
REQ
HF E
and/or
controls.
NHANCE
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