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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3-48<br />
OPERATION ORBAN MODEL <strong>9400</strong><br />
The Medium Slow settings (MED and MED2) are appropriate for more<br />
adult-oriented formats that need a glossy show-business sound, yet<br />
whose ratings depend on maintaining a longer time spent listening than<br />
do conventional Contemporary Hit Radio (CHR) formats. With the singleended<br />
noise reduction activated, it is also appropriate for Talk and News<br />
formats. This is the sound texture for the station that values a clean, easyto-listen-to<br />
sound with a tasteful amount of punch, presence, and<br />
brightness added when appropriate. This is an unprocessed sound that<br />
sounds just right on music and voice when listened to on small table radios,<br />
car radios, portables, or home hi-fi systems.<br />
The Medium Fast settings (MFAST and MFAST2) are ideal for a highly<br />
competitive Contemporary Hit Radio (CHR) format whose ratings depend<br />
on attracting a large number of listeners (high “cume”) but which does<br />
not assume that a listener will listen to the station for hours at a time.<br />
This is the major market competitive sound, emphasizing loudness as well<br />
as clean audio. The sound from cut to cut and announcer to announcer is<br />
remarkably consistent as the texture of music is noticeably altered to a<br />
standard. Bass has an ever-present punch, there is always a sense of presence,<br />
and highs are in perfect balance to the mids, no matter what was<br />
on the original recording.<br />
The Fast setting is used for the TALK and SPORTS factory programming<br />
formats. Processing for this sound keeps the levels of announcers and<br />
guests consistent, pulls low-grade telephone calls out of the mud, and<br />
keeps a proper balance between voice and commercials. Voice is the most<br />
difficult audio to process, but these settings result in a favorable tradeoff<br />
between consistency, presence, and distortion.<br />
It is possible to experiment with this sound for music-oriented programming<br />
as well. However, even with these settings, your sound is getting<br />
farther away from the balance and texture of the input. We think that<br />
this is as far as processing can go without causing unacceptable listener<br />
Band Mix<br />
Full Name Advanced Name Range<br />
B2>B1 CPL B2>B1 Coupling 0 ... 100 %<br />
B2>B3 CPL B2>B3 Coupling 0 ... 100 %<br />
B3>B2 CPL B3>B2 Coupling 0 … 100 %<br />
B3>B4 CPL B3>B4 Coupling 0 ... 100 %<br />
B4>B5 CPL B4>B5 Coupling 0 ... 100 %<br />
B1 OUT B1 Output Mix –6.0 … +6.0<br />
B2 OUT B2 Output Mix –6.0 … +6.0<br />
B3 OUT B3 Output Mix –6.0 … +6.0<br />
B4 OUT B4 Output Mix –6.0 … +6.0<br />
B5 OUT B5 Output Mix –6.0 … +6.0<br />
--- B1 On / Off Band On, Band Off<br />
--- B2 On / Off Band On, Band Off<br />
--- B3 On / Off Band On, Band Off<br />
--- B4 On / Off Band On, Band Off<br />
--- B5 On / Off Band On, Band Off<br />
Table 3-9: MB Band Mix Controls