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If you find that you cannot set an attack time to a higher (slow-
er!) value that you’d like to try, check the associated release
time. You will have to set the release to a larger (slower) num-
ber before you will be allowed to increase the attack to the
number you want to try.
Although the Multipressor sections are r.m.s. responding, a
short attack time will cause the compressors to act more like
peak limiters. A shorter release time will increase program en-
ergy in that band, but may also cause audible distortion due to
sidechain self-modulation.
FINAL NOTE:
We don’t offer any hard-and-fast rules for choos-
ing crossover frequencies and time constants, nor do we even
proffer educated suggestions. These adjustments are very sub-
jective and can easily open the door to really, really bad-
sounding results. You are on your own. Our only word of ad-
vice is to return to the thoughtful and conservative factory val-
ues we endorse if you start hearing something you don’t like.
Bottom line: don’t mess with these if you have questions or res-
ervations about what you’re doing!
BASS EFFECTS
The DAVID IV offers two separate and distinct options for
augmenting deep-bass content in the program material.
DAVID IV bass-enhancement algorithms utilize compression,
expansion, soft and hard clipping, intermodulation generation
and sidechain re-modulation techniques. This processing is
purposely conducted in the monaural (L+R) domain to optimize
the effect and to prevent creation of stereo-difference energy at
these low frequencies.
NOTE:
Because bass enhancement is performed in the monau-
ral domain there is indeed a compromise in stereo separation
at very low frequencies. If system measurement specifications
or your purist musical objectives make such a compromise (at
low frequencies only, mind you) offensive to you, leave
Bass Ef-
fects
: set to
Bypass
!
‘Punch’ and
‘Rumble’
Punch
is that ‘thump’ that tries to rip the cone out of your
speaker… the tight bass line that hits you in the chest.
Rumble
,
on the other hand, refers to a pervading deep-bass line that
seems to just sit there under the music, providing a sort of sub-
melodic ‘drone.’
The two sliders,
Bass Punch:
and
Bass Rumble:
, allow for indi-
vidual adjustment of bass effects. Each control may be set be-
tween 0 (off) and 10 (maximum). In setting these, let your ears
and your conscience be your guide. Despite the desire for that
solid and pervasive ‘bottom-end,’ resist the temptation to run
both these controls to the max. And when setting them, for-
