Q-SPAND™
CONTROLS AND FUNCTIONS
Process. SRS retrieves the spatial information from recordings and restores the original three-dimen-
sional sound fi eld. As a result, the reproduced sound is much closer to a live performance. Like live
performances, SRS has no critical listening position (sweet spot). Listeners can move around the room
and continue to be immersed in full three-dimensional sound. A microphone does not possess the abil-
ity to interpret the direction a sound is coming from in the same way that the human ear does. However,
when the audio source is recorded, directional audio cues are still present in the recording. By break-
ing down the stereo signal into its various signal components, it is possible to isolate and restore these
spatial cues and place them in the proper space relative to the direct sounds, such as a soloist or dia-
logue. These spatial cues are restored by the use of Head Related Transfer Functions (HRTFs), which
process ambient sounds via patented frequency response correction curves.
17. MICROPHONE BASS CONTROL -
This knob is used to adjust the low frequency levels of micro-
phones one and two. This control allows for a maximum signal gain of 15dB or maximum signal
decrease of -30dB. Turning the knob in a counter-clockwise direction will decrease the amount of treble
applied to the source signal, turning the knob in a clockwise direction will increase the amount of treble
applied to source signal.
18. MIC 1 VOLUME CONTROLS -
This knob controls the output volume of
Microphone 1 (3)
. Turning
the knob in a clockwise direction will increase the volume, turning the knob in counter-clockwise direc-
tion will decrease volume output.
19. MIC 2 VOLUME CONTROLS -
This knob controls the output volume of
Microphone 2 (52)
. Turning
the knob in a clockwise direction will increase the volume, turning the knob in counter-clockwise direc-
tion will decrease volume output.
20. FADER CURVE ADJUSTMENT -
This knob is used to manipulate the crossfaders response. The
crossfader can operate in several different modes, NORMAL CURVE, QUICK CURVE (Quick Curve
usually used for crabbing), and a variety of slopes in between. Turning the knob in a clockwise direction
will make the crossfader more responsive.
21. FADER ASSIGN SWITCH -
This is a five position switch that assign a channel to the
Crossfader
(22)
. When a channel is assigned to the left side of the
Crossfader (22)
that channels output level
will be controlled by the
Crossfader (22)
. Sliding the
Crossfader (22)
to left position will send
full volume output to the
Master Volume Level (26)
and sliding the
Crossfader (22)
to right
position will cut that channels volume to
Master Volume Level (26)
. The reverse is true for the
right channel fader assign switch. When this switch is set to the "OFF" position the crossfader
will have no function.
22. FEATHER FADER PLUS CROSSFADER -
This fader is used to blend the output signals of chan-
nels one and two together. When the fader is in the full left position (channel 1), the output signal of
channel one will be controlled by the master volume level. The same fundamentals will apply for chan-
nel two. Sliding the fader from one position to another will vary the output signals of channels one and
two respectively. When the crossfader is set in the center position, the output signals of both the chan-
nels one and channels two will be even.
23. CHANNEL BASS EQUALIZER -
Each of the four channels come with a BASS signal output EQ.
These controls are used to increase (up to +15dB) or decrease (down to -35dB) the LOW range output
signal. Turn the knob counter-clockwise to decrease a value or clockwise to increase a value.
24. ZONE LEVEL VOLUME OUTPUT CONTROL -
This rotary knob is used to control the zone
level volume. The zone level is not PFL, it is essentially a second master output volume with
separate output volume control.
©
American Audio
®
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