OPTIMOD-FM OPERATION
3-21
LOUD-HOT+BASS is based on LOUD-HOT. It is tuned for the maximum amount of bass
we could add without creating obvious distortion on some program material. For maxi-
mum punch, it uses the
HARD bass clipper at higher Less-More settings.
This amount of bass may be excessive with certain consumer radios (par-
ticularly “boom-boxes”) that already have substantial bass boost. Use it with
care.
LOUD-HOT+BASS LL
is the low-latency version of LOUD-HOT+BASS.
LOUD+SLAM is similar to LOUD-HOT+BASS, but uses Hard bass clipping mode with a
Shape of 7.6, a Bass Slope of 18 dB/octave. It has modified tuning in the band-1 com-
pressor (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
Bass Slope, its ad-
vantages will be appreciated most through radios with good low bass response.
LOUD-COMPRESSED retains the full distortion-controlling mechanism for all
Less/More settings. Because this mechanism reduces clipper drive to prevent waveforms
from being clipped excessively, it can pump audibly when being used to the extreme that
it is in this preset. This is a sound texture that some people have requested, but which has
not previously been obtainable in an FM OPTIMOD product.
The new DSP code first introduced in version 1.0 software greatly reduced
the tendency of this preset to produce audible IM distortion and excessive
pumping by comparison to the DSP in earlier software versions.
LOUD-WIDE
provides a large amount of stereo enhancement. “Wide” refers to the stereo
enhancer setting, which is more extreme than the other
LOUD presets.
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 stations that feel that the
LOUD-HOT presets are too aggressive, but that think that the ROCK presets are insuffi-
ciently 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. It was first introduced in version 2.0 software.
LOUD-FAT has dramatic punch on percussive material and a very fat-sounding low end,
plus outstandingly effective distortion control. It exploits the DSP improvements intro-
duced in version 2.0 to avoid overt bass distortion despite the full bass sound. It is
slightly quieter than the loudest of the “loud” preset family.
GREGG and GREGG LL use a 200 Hz band1/band2 crossover frequency to achieve a
bass sound similar to the classic five-band Gregg Labs FM processors designed by
Orban’s Vice President of New Product Development, Greg Ogonowski. Dynamically,
these presets produce a slight increase in bass energy below 100 Hz and a decrease of
bass energy centered at 160 Hz. This bass sound works particularly well with radios hav-
ing good bass response, such as many auto radios today.
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