Optimod-AM 9400 V1.2 Operating Manual - Orban
Optimod-AM 9400 V1.2 Operating Manual - Orban
Optimod-AM 9400 V1.2 Operating Manual - Orban
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3-32<br />
OPERATION ORBAN MODEL <strong>9400</strong><br />
The curves in the <strong>9400</strong>’s equalizer were created by a so-called “minimax”<br />
(“minimize the maximum error,” or “equal-ripple”) IIR digital approximation<br />
to the curves provided by the <strong>Orban</strong> 622B analog parametric<br />
equalizer. Therefore, unlike less sophisticated digital equalizers that use<br />
the “bilinear transformation” to generate EQ curves, the shapes of the<br />
<strong>9400</strong>’s curves are not distorted at high frequencies.<br />
Midrange Parametric Equalizer is a parametric equalizer whose boost and cut<br />
curves closely emulate those of an analog parametric equalizer with conventional<br />
bell-shaped curves.<br />
MID FREQ determines the center frequency of the equalization, in Hertz.<br />
Range is 250-6000Hz.<br />
MID GAIN determines the amount of peak boost or cut (in dB) over a<br />
10 dB range.<br />
MID WIDTH determines the bandwidth of the equalization, in octaves.<br />
The range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric<br />
equalizer, 1 octave is a good starting point.<br />
The audible effect of the midrange equalizer is closely associated with the amount<br />
of gain reduction in the midrange bands. With small amounts of gain reduction, it<br />
boosts power in the presence region. This can increase the loudness of such material<br />
substantially. As you increase the gain reduction in the midrange bands (by turning<br />
the MULTIBAND DRIVE (Multiband Drive) control up), the MID GAIN control will have<br />
progressively less audible effect. The compressor for the midrange bands will tend to<br />
reduce the effect of the MID frequency boost (in an attempt to keep the gain constant)<br />
to prevent excessive stridency in program material that already has a great<br />
deal of presence power. Therefore, with large amounts of gain reduction, the density<br />
of presence region energy will be increased more than will the level of energy in<br />
that region.<br />
Use the mid frequency equalizer with caution. Excessive presence boost tends to be<br />
audibly strident and fatiguing. Moreover, the sound quality, although loud, can be<br />
very irritating. We suggest a maximum of 3 dB boost, although 10 dB is achievable.<br />
In some of our factory music presets, we use 3 dB boost at 2.6 kHz to bring vocals<br />
more up-front.<br />
High Frequency Parametric Equalizer is a parametric equalizer whose boost and<br />
cut curves closely emulate those of an analog parametric equalizer with conventional<br />
bell-shaped curves.<br />
HIGH FREQ determines the center frequency of the equalization, in<br />
Hertz. The range is 1-15 kHz.<br />
HIGH GAIN determines the amount of peak boost or cut over a 10 dB<br />
range.<br />
HIGH WIDTH determines the bandwidth of the equalization, in octaves.<br />
The range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric<br />
equalizer, one octave is a good starting point.<br />
Excessive high frequency boost can exaggerate hiss and distortion in program material<br />
that is less than perfectly clean. We suggest no more than 4 dB boost as a practi-