Orban OPTIMOD 6300 Operating Manual page 171

OPTIMOD 6300 DIGITAL
INSTRUMENTAL: An alias for the JAZZ preset.
JAZZ: JAZZ is specifically tailored toward broadcasters that play mostly instrumental
music, particularly classic "hard" jazz (Coltrane, Mingus, Monk, etc.). It is a quiet pre-
set with a very clean, mellow high end to prevent stridency on saxes and other
horns. It preserves much 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 broadcasters that want listeners to stay all day. Note that broadcasters pro-
gramming "smooth jazz" should investigate the SMOOTH JAZZ preset, which is
much louder and more "commercial"-sounding.
LOUD: There are several LOUD presets.
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
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+SLAM is similar to LOUD-HOT+BASS, but uses H
a S of 7.6, a B
HAPE
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
B S
ASS LOPE , its advantages will be appreciated most through radios with good low
bass response.
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-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.
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.
S
ASS LOPE of 18 dB/octave. It has modified tuning in the band-1
-M
ESS ORE
bass clipping mode with
ARD
3-29
OPERATION
set-