Orban OPTIMOD-AM 9300 Operating Manual Download

Page: 166 / 242

3-34

OPERATION

ORBAN MODEL 9300

program material without audible side effects. You will get best results if
you set the

control of the noise reduction system to com-

plement the program material you are processing. The

should be set higher when the input is noisy and lower when the input is
relatively quiet. The best way to adjust the

control is to start

with the control set very high. Reduce the control setting while watching
the gain reduction meters. Eventually, you will see the gain increase in
sync with the program. Go further until you begin to hear noise modula-
tion — a puffing or breathing sound (the input noise) in sync with the
input program material. Set the

control higher until you can

no longer hear the noise modulation. This is the best setting.

Obviously, the correct setting will be different for a sporting event than
for classical music. It may be wise to define several presets with different
settings of the

control, and to recall the preset that com-

plements the program material of the moment.

Note also that it is virtually impossible to achieve undetectable dynamic
noise reduction of program material that is extremely noisy to begin
with, because the program never masks the noise. It is probably wiser to
defeat the dynamic noise reduction with this sort of material (traffic re-
ports from helicopters and the like) to avoid objectionable side effects.
You must let your ears guide you.

B2>B1 CPL

control determines the extent to which the gain of band 1 (below 100Hz

or 200Hz, depending on crossover setting) is determined by and follows the gain of
band 2 (centered at 400Hz). Set towards 100% (fully coupled) it reduces the amount
of dynamic bass boost, preventing unnatural bass boost in light pop and talk for-
mats. Set towards 0% (independent), it permits frequencies below 100Hz (the
“slam” region) to have maximum impact in modern rock, urban, dance, rap, and
other music where bass punch is crucial.

HF CLIP

(“High Frequency Clipper Threshold”) sets the threshold of clipping in

bands 4 and 5 with reference to the overall threshold set by the

LIP

control. The

range is 0 to +6dB. We have made this control available for some major-market cus-
tomers who prefer a brighter sound at the expense of audible distortion on a sig-
nificant amount of program material. We recommend a setting of

for all program

material.

This control is for audio processing experts only; it is important to listen to a very
wide range of program material before deciding to set this control above 0. When
the control is set above 0, there will definitely be some program material that
sounds harsh and distorted and you must decide if the trade-off against brighter
sound and more vocal presence is acceptable to your taste.

Advanced Multiband Controls

The following Advanced Multiband controls are available only from 9300 PC Remote
software.

B1-B5 Out

(“Band 1-5 Output Mix”) controls determine the relative balance of the

bands in the multiband compressor. Because these controls mix

after

the band com-

pressors, they do not affect the compressors’ gain reductions and can be used as a