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displacement required to accurately reproduce very
deep bass. By actively filtering very deep bass away
from the subwoofer, it is better able to reproduce
bass within it's useful bandwidth.
* 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" on
page 19.
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 2nd
order and 4th order Linkwitz Riley alignments
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,
18
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 16-21 apply to settings found in the 'Delay,
Level, Limiter, and Phase' section.
17.
Delay units
Choose whether to measure channel delays in
meters (default), feet, or milliseconds.
18.
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 16.
19.
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
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20
21
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