— 29 —
our only word of advice is to return to our thoughtful and con-
servative factory values if you start hearing something you
don’t like. Bottom line: don’t mess with these if you have res-
ervations about what you’re doing!
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 out of the
speaker… the tight bass line that hits you in the chest.
Rumble
,
on the other hand, refers to a pervading deep-bass line that
seems to just sit there under the music providing a sort of me-
lodic ‘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
trim your adjustments accordingly.
Summary of Contents for 719
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