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BASS CHARACTER ENHANCEMENT
The DAVID IV offers two separate and distinct options for
augmenting deep-bass content in the program material. Navi-
gate to:
Processing / Compression / Bass Character
. There are two
sliders in this menu:
Punch and
Rumble
Punch
is that ‘thump’ that tries to rip the cone from the speak-
er, the tight bass line that hits you in the chest.
Rumble
, on the
other hand, refers to a pervading deep-bass that seems to just
sit there under the music providing a sort of melodic ‘drone.’
DAVID IV bass enhancement algorithms utilize compression,
expansion, soft and hard clipping, intermodulation and
sidechain re-modulation techniques. This processing is pur-
posely conducted in the monaural (L+R) domain to maximize
the effect and to prevent creation of stereo-difference energy at
these low frequencies.
The two controls,
Punch
and
Rumble
, allow for individual ad-
justment of these 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, make
sure you are listening over a system that can reproduce the ef-
fects you are dialing-in.
There is one caveat with respect to the bass enhancement sec-
tion, one that is hinted on the Block Diagram (Page 9). Bass ef-
fects are added back into the multiband mix at the input to the
peak limiting section, bypassing the Multipressor. ‘Enhanced’
bass energy will not be subject to compression before it hits
the peak limiter, and huge amounts of bass may cause some
degree of broadband ‘ducking’ as a result. Listen for this and
make your adjustments accordingly.
PROGRAM PEAK CONTROL
Control of program peaks by the DAVID IV is accomplished in
two sections: 1) a broadband final limiter and: 2) ‘adaptive pre-
emphasis,’ which is essentially independent limiting for high
frequencies subject to FM pre-emphasis.
The broadband peak limiter acts on program audio that is de-
livered to any of the unit’s outputs, whether it’s a flat, 20kHz
signal for digital broadcasting, or other full-power-bandwidth
application, or for FM transmission. But FM transmission re-
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