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duce its gain, as the signal level decreases. It is ex-
pressed in dBfs.
4.2.3 Bass enhancer
This control reinforces mid-bass in the range of 100 -
300 Hz, improving the presence of bass in small speak-
ers. Unlike the equalizer, which emphasizes the compo-
nents present in the signal, the Superbass reinforce-
ment synthesizes and adds harmonics generated from
the lower frequencies.
FREQUENCY: This is the cutoff frequency of the low-
pass filter. Defines the frequency range
used to generate harmonics.
INTENSITY: Determines the amount and strength of
harmonics generated
SUB-GAIN: Level of synthesized basses that are
added to the signal.

When using preset switching for voices, it is recom-
mended that the presets used for both the music and
the voice have BASS ENHANCER in the same condi-
tion (enabled or disabled).
4.2.4 Stereo enhancer
When an FM station transmits with stereo field enhance-
ment, stands out against conventional stereo transmis-
sions for having a "wider" sound. This effect contributes
to increase the loudness perceived by the listener. When
listening with headphones, the enhancement is more no-
ticeable.
Stereo enhancement uses a stereo expansion algorithm
to simulate surround sound in two-channel systems.
Hearing has better response to phase changes between
ears below 2000Hz, so if you increase the phase differ-
ence you get a wider stereo image.
There are two control parameters:
Figure 33: Stereo enahacement
Cut Freq (Hz) Set the cut-off for the low-pass filter, which
determinate the range of frequencies of the processed
signal that is added.
Intensity: The level of the processed signal added to the
dry signal.

When using preset switching for voices, it is recom-
mended that the presets used for both the music and
the voice have BASS ENHANCER in the same condition
(enabled or disabled).
4.3 Enhancer EQ
4-band parametric equalizer. For the use of equalization
to make sense, each correction must affect a frequency
range smaller than the width of the processing band that
contains it (LOW, MID1, MID2, PRES, HI). This is espe-
cially true for frequencies below 800 Hz, included in the
LOW and M1 bands.
For reference, a Q factor = 3 corresponds to approxi-
mately ½ octave width from the center frequency, while
a Q factor = 4 is approximately ⅓ octave.
For example, a -3dB attenuation centered at 250 Hz with
Q factor = 2, has a width of 125 Hz. The 250 Hz center
frequency "falls" within the M1 band, which extends from
125 to 800 Hz. The correction then it affects 50% of the
frequencies within M1 (125 to 375 Hz). If the Q factor is
increased, the attenuation will be more specific over the
center frequency. But if, on the contrary, a Q = 0.5 is
used, the correction will have a width of 500 Hz, that is,
it extends to LOW and M1.
In the example above, it is necessary to analyze whether
it is convenient to produce this attenuation from the
parameric EQ, or from the mixing of the bands in the
density equalizer. The effect will be subtly different.
As a general rule of thumb, the audio equalizer should be
used for very specific cuts or boosts. The overall curve or
EQ profile of the sound is defined using the multiband
AGC and Density EQ.
Figure 34: 4-bands parametric EQ
Page 32 Audio Processing Core - SOLIDYNE 542 APC