AudioControl The Director D2800, Руководство по установке

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35
Installation Manual
Model D2800
THE DIRECTOR
™
AudioControl has factory training,
called Train in the Rain where we
explore this subject in depth.
You can save different settings to different
memories and see which one the clients
like. Their taste may be different than
yours.
Parametric and Graphic
Equalization
The graphic equalization controls in The
Director D2800 are selected to correspond
with the characteristics of wall and ceiling
speakers, and as such are very effective.
Graphic controls are the easiest to tune
and provide a “graphic” representation
of what the adjustments are. Paramet-
ric equalization requires selecting the
frequency, the bandwidth of the control,
as well as the level of adjustment, not
an easy task to get correct. In general,
parametric equalization is valuable for
very large areas of change or very narrow
areas.
Parametric equalization in The Director
D2800 is most likely best used for taming
very narrow peaks. Do not use for very
narrow dips as these dips are likely caused
by cancellations and will not respond to
equalization boost.
Here is an introduction to each of the
graphic control frequencies and what their
affect is on music.
45 Hz — Low bass . This is about the
lowest frequency which in-wall, ex-
tension and small bookshelf speakers
can achieve. Boosting it too far might
cause problems, even though The
Director D2800’s subsonic filter cuts
frequencies below your adjustment
point. But if your speakers can take
it, a mild boost will enhance bass
instruments such as Fender bass, kick
drum, floor toms, timpani and double
bass viols.
150 Hz — High bass . There’s a lot of bass
information at this frequency. In fact,
most modern music is mixed to en-
hance this area of the frequency spec-
trum. 150Hz also determines the depth
of male vocals and contains reverber-
ant information which contributes to
the spaciousness of sound. Boosting
150Hz can add “POW!” and impact to
bass or it can make the sound “bonky”
and “boomy”. This is a critical adjust-
ment with small or in-wall speakers.
Experiment with it.
300 Hz and 700 Hz — High and low mid-
range. These controls directly affect
the sound of instruments and vocals.
These bands also determine the
speaker’s presence (whether the music
sounds far away or close in). Small
speakers often produce too much mid-
range, so these controls can be turned
down slightly during your initial experi-
mentation. Consider reducing 700Hz
if you are only using your extension
speakers for background music.
2500 Hz — Treble. Female vocals and the
“edge” of instruments such as guitars,
snare drums, saxes, violins, etc. are
found in this range. If accentuated too
much (by boosting this control) sounds
in the 2500Hz range can seem harsh
and fatiguing to the ear due to exces-
sive output by the speaker or because
of live, reflective room acoustics.
12 kHz — High treble . The fine detail,
texture and sheen of music is found
here. The breathiness of vocals, the
“sheen” of cymbals, the high over-
tones of piano and strings. Actually,
there’s audible music information up
to 20,000Hz on some CDs and most
adult’s hearing is still pretty good at
15,000Hz. We’ve chosen 12,000Hz be-
cause it provides more useful control
to compensate for room acoustics and
common small-speaker deficiencies.
Parametric and Graphic EQ