Focal ASTRAL 16 Gebrauchsanleitung Seite 22

ASTRAL 16
U s e r m a n u a l
* Items 14 and 15 pertain to Standard Bass
Management Mode in which the crossover point
and slope defined apply to both the high pass and
low pass sides of the filter equally. For Expert Bass
Management, see "Expert Bass Management".
14. Frequency
When the channel is set to Small or Large and
Sub, the Frequency defines the point below which
bass in this channel is routed to the subwoofer(s).
Note that the frequency is the -3dB point along
the slope defined in the next column and is not an
absolute cutoff point.
15. Slope
The rate at which bass is 'crossed over' into the
subwoofer when the channel is set to Small or
Large and Sub. LR 12dB and LR 24dB are 2
order and 4 order Linkwitz Riley alignments
th
respectively.
16. With LFE
When a channel is set to Large or Large and Sub,
this channel can optionally reproduce LFE bass
which would normally be the sole responsibility
of the subwoofer channels. When set to None,
no LFE will be mixed into this channel. When set
to a figure between 0dB and -20dB, LFE bass
attenuated by that figure will be mixed into this
channel. This feature is useful when the main
channels have sufficient bandwidth AND dynamic
range to support the subwoofers in creating an
appropriate amount of bass sound pressure in the
room.
Items 19-22 apply to settings found in the 'Delay,
Level, Limiter, and Phase' section.
17. TiltEQ
For speakers behind a motorized screen for
example, you might need to change their "audio
brightness" depending on the screen position up
™
nd
or down. TiltEQ allows the sound to be darker of
brighter.
18. Delay units
Choose whether to measure channel delays in
meters (default), feet, or milliseconds.
19. Delay per Channel
Each channel should have distance/delay set
beteween that loudspeaker and the sweetspot.
You can define this in meters (default), feet, or ms
depending on your setting in 18.
20. Level
Set the level of each channel in between -100dB
and +12dB in 0.1dB increments. Best practice is
to set other channels to a negative figure relative
to the loudest channel to avoid clipping when
possible. Global gain makeup can be applied to
the theater when the relative level of the theater
is too low (usually a result of a high degree of
correction due to Dirac Live's mixed phase filters).
Use global gain makeup judiciously to avoid
clipping.
21. Limiter
To prevent distortion
overdriving or amplifier clipping, you may wish
to engage a limiter on a channel. When enabled,
a compressor will attenuate audio above the
threshold set by the Limiter Value for that
channel back down to that value. For instance,
if the limiter is enabled and set to -3dBFS, any
audio that exceeds -3dBFS will be reproduced
at -3dBFS. By their nature, limiters are not ideal
acoustic solutions, but this feature can prevent
subjectively worse sounding distortion, or in
extreme cases, damage to loudspeakers or
amplifiers. If you find that you are aggressively
using the limiter function, you are encouraged to
upgrade loudspeakers and/or amplification.
22
18
19
20
21
22
due to loudspeaker