INDEX

The bit Drive software application is Audison’s latest tool for calibration, configuration, and tuning bit DSP processors in the automotive environment. It is compatible with select Audison bit devices:

AF C8.14 bit
AF M12.14 bit
AF M5.11 bit
AF C4.10 bit
AF M8.14 bit
AF M1.7 bit

Future bit devices will added as they are introduced, thanks to the “future-proof” architecture of the bit Drive software.

Using bit Drive software successfully involves the following steps:

1. Software and firmware

Installing the software
Updating the bit device firmware to the latest firmware
Opening the bit Drive software and updating to the latest version

2. Configuring the bit device for first use.

3. Input and Output Setup using the Configuration Wizard

The Configuration Wizard includes automated testing for Polarity, EQ, and delay on the input signals. The user can elect to use the Wizard’s automated correction for EQ and Delay, or perform those manually in the next step.

4. Using the Input tools, including the Electrical RTA

to confirm the automated signal correction and add phase correction if needed. Also, if the automated process was skipped over in Step 3, the de-EQ, de-Time, and de-Phase processes can all be performed in Step 4.

5. Using the Output tools

including the Acoustic RTA, to achieve the desired acoustic result (“tuning”).

6. Configuring optional functions of the bit device.

1. SOFTWARE AND FIRMWARE INSTALLATION AND MAINTENANCE

The latest bitDrive software and AF bit firmware releases are always available for download on the Audison Support page.

1.1 PC SOFTWARE INSTALLATION

The bitDrive software can be installed in every PC equipped with Windows 10 or 11 operating system. For the installation it is important to have an active Internet connection, in order to ensure the download of the Microsoft .NET Framework files (these are needed for a proper funtioning of the software) if they are not already installed in the PC.

Once the new bitDrive release has been downloaded, the user can open the bitDrive (vx.x.x.x) folder, right-click on the executable file setup.exe and selecting Run as administrator.

The following window will appear:

Press Next to proceed.

Press I Agree to proceed.

Press Browse if the user wants to change the bitDrive folder location in the PC, otherwise press Next to proceed.

Press Next to proceed and wait until the installation is completed.

Press Close to terminate.

The icon of the software executable file and all other software folders will be available at the following PC patch C:\Program Files (x86)\Audison\bitDrive.

1.2 PC SOFTWARE UNINSTALL

To uninstall the bitDrive software the user can follow the standard procedure of Windows operating systems:

Press: Start / Control Panel / Programs and Features
Select bitDrive and press Uninstall
Follow the procedure to complete the uninstall.

Note: at the end of the procedure, it will be immediately possible to install the new bitDrive release, without the need for restarting the PC.

1.3 PC SOFTWARE UPDATE

Once the new bitDrive release has been downloaded, the user can follow the same installation procedure shown in section 1.1 PC SOFTWARE INSTALLATION. The previous software release will be automatically overwritten.

1.4 FIRMWARE UPGRADE

This function does not require active Internet access - however, the latest firmware must be downloaded from the Internet. This can be downloaded at Audison Support page.

IMPORTANT:

The firmware upgrade will erase the setup saved into the product memory. Therefore, please make sure to save the setup in the PC before starting the procedure, in order to reload that after the procedure has been completed.
Take care to keep the product and the PC powered on, and the USB cable firmly
connected, during the firmware update process. Power or connection failure can result in malfunctioning equipmen
If the vehicle battery is questionable, connect an automotive-capable +12DC power supply to the battery until the firmware process is complete
Do not change the position of the UPGRADE switch during the firmware upgrade process.

Note: Make sure the bit Drive software is not open on your PC. If it is, close it before updating the firmware.

Download the firmware file from the Audison website. A folder named AFUpdate (vx.x.x.x) will be available in the Downloads folder.
Open the folder AFUpdate (vx.x.x.x), click on the file AFUpdate. The following window will appear:

Make sure to read the warnings, the click on Update to start the procedure

Wait until the operation is completed before disconnecting the USB cable or removing power from the bit device or the PC. The following window will appear

Click on OK to restart the device.
At the end of the upgrade, the device will be ready to be configured. Open the bit Drive software to start the configuration or to load a setup file previously saved.

2. PRELIMINARY CONFIGURATION OF THE DEVICE

2.1 INITIAL SCREEN

SEE THE WEB TUTORIAL:

The bitDrive software has been designed to be compatible with all AF products with integrated DSP and future products in the Audison catalogue. Thanks to a handshaking mechanism, the software detects the device connected to the PC and configures automatically its interface according the tools available for that device.

bitDrive can also be used in Offline mode, if there is no available device to connect to the PC. Offline
mode allows the software to exercise most of the bit Drive functions with virtual devices. The user can access almost all of the same tools which are available when an actual bit device is connected, including opening, modifying, and saving setup files for later use.

The Initial screen displays important information:

bitdrive software release number

The panel to select the device shows the different connection modes:

USB: detects the device connected to the PC via USB port;
SERIAL: detects the device connected to the PC via Serial port;
Wi-Fi: detects the device connected to the PC via Wi-Fi (future function, not yet supported);
OFFLINE: use mode with "virtual" bit device.
The Refresh button above the panel updates the list of connected devices. Use the Refresh button in case you connect a bit device after opening the bit Drive software.

After clicking the desired bit device, the software will start loading all the tools required for that device. The progress bar at the bottom of the window shows the percentage of progress of the loading process.

At the end of the loading procedure the main window will show up with all the tools, as shown below.

Note: For reasons of safety, when bit devices are first powered on, no sound will be audible from the speakers. This only applies if the device has not been previously configured. This is because the Mixer that manages the input-output routing is not yet configured.

2.2 INITIAL SETTINGS

At the top right of the screen the user can find the icons of the initial settings.

Audio settings

Opens the Audio settings panel for the Acoustic RTA tool

Input device: allows the user to select the audio input device to be used by the internal acoustic RTA. Only devices currently connected to the PC are displayed.

Notes:

Use a good-quality USB measurement microphone, or a good-quality XLR measurement microphone connected to a good-quality USB microphone preamp. Do not try to use the microphone internal to your PC. Microphones designed for musical recording rather than measurement will yield unpredictable results.
When first opening the bit Drive software, you probably have not yet connected your measurement microphone - which would prevent you from making this selection at this time. However, this selection must be made before the Acoustic RTA function can be used.

Bands: to choose the number of audio spectrum frequency bands between octave (10 frequency bands), 3rd octave (30 frequency bands), 6th octave (60 frequency bands), 12th octave (120 frequency bands).
Average: to choose the time window length in which the average is calculated (short; normal; long). This setting modifies the responsiveness of the bar graph.
Microphone calibration file: load the microphone calibration file (in .txt format) if available

Settings

Opens the general settings panel

Sampling frequency: shows the sampling frequency of the DSP used. This is not currently able to be changed.
Languages: allows to set the software interface language.
Keyboard layout: set the keyboard layout to be applied for the shortcuts
Units of measure: allows to set the units of measurement to insert the speaker distances; options available are centimeters (cm) or inches (in).

Note: It is recommended to select the desired Unit of measurement before proceeding.

Automatic snapshot: enables/disables the auto save function of the setup in the software memory, with refresh rate fixed at a 2 minutes.
Check for updates on startup: enables/disables the automatic check of new software/firmware releases available for download on the web portal.
Device reset: function that resets the product, restoring the factory settings. In this case all the data saved into the device memory will be erased.

Shortcuts

It opens the shortcut map, including the choice for keyboard layout

Help

Opens the quick guide.

Informations

Shows the software informations.

web tutorials.png Web tutorials

Opens the Youtube video tutorials playlist to learn using bitDrive software.

2.3 SAVE AND LOAD A CONFIGURATION

bit Drive allows the user to save the setup configuration to the PC, load a saved configuration file, and write the currently-loaded configuration file to the non-volatile memory of the bit device. These functions are available in the command bar at the top left, as shown below.

Open: load the configuration from a file saved on the PC.
Save As: save a copy of the current setup as file on the PC.
Finalize: writes the currently-loaded configuration file to the bit device’s non-volatile memory. This setup file will be retained even after powering off the device and powering it on again. When this operation is executed, the bit Drive software will warn the user that the current data written to the device memory will be overwritten:

click on YES to save the data.
click on NO to cancel the operation.

Configuration Report: creates a printable report about the setup configuration.

2.4 VOLATILE DATA SETTINGS

For safety reasons, if the amplifier’s battery power is disconnected, some settings of the device revert to predefined values. These conditions can in the software by clicking on Features -> Default volatile data.

The settings to be defined are:

Device volume (default is 0dB)
Source predefined (default is Master source)
Memory predefined (default is Memory 1)
Subwoofer volume (default is 0dB)
Volume Zone 1 (default is 0dB)
Volume Zone 2 (default is 0dB)
Final Tuning EQ enabled/disabled (default is enabled)

Once they are saved, these settings will be always applied every time the device power is disconnected.

WARNING: Make sure to properly configure these settings before finalizing the bit device, to ensure proper operation after a temporary loss of power. Otherwise audio output may be lost, and some safety functions may not be audible. These functions may include handsfree calling audio, telematics emergency call audio, and reverse sensor audible warnings. In addition, the vehicle user may not have sufficient volume, or sufficient subwoofer level, or may have poor sound (due to the incorrect memory preset being selected, or to the final tuning equalizer being disabled).

3. CONFIGURATION WIZARD - INPUT AND OUTPUT SETUP

The Wizard Configuration guides the user through the steps to define the main setup settings in few minutes and with automatic tools (such as de-EQ, etc.).

IMPORTANT: Please, remind that any modification to the I/O setup can be done at any time, even without running the Configuration Wizard.

Notes:

Once the Configuration Wizard process begins, all Input EQ settings are restored to their defaults. Even if the Wizard process is not completed, these settings are reset to their initial values.
After the Configuration Wizard process is completed, all manual functions are available for use. These changes can be made without repeating the Wizard process.

The Wizard Configuration guides the user through the steps to define the main setup settings in few minutes, with the help of automatic tools. Optionally, automated de-EQ and de-Time can be performed during the wizard process.

PRELIMINARY CHECK BEFORE STARTING THE PROCEDURE

before proceeding, the proper test tracks are required if you wish to perform de-EQ and de-Time. You can download them on Audison Support page. Use only the test tracks specified for your product! Other test tracks may yield poor or wrong results.
during this procedure, we suggest to disconnect the SPEAKER OUT harness from the amplifier to avoid any risk of damage.

It is important to know in details the system to be tuned, since these informations will be asked during the wizard setup. In details:

What kind of input channels (Pre In/Speaker In);
What kind of input signals (ex: Front Left or Center or Subwoofer etc.);
What kind of speakers (ex. Front 3-way or Sub stereo or Rear 2-way etc.);
Presence of passive crossover filters;
If there are companion amplifiers to increase the number of output channels
If the amplifier outputs will be used in Bridge mode to increase the power rate;
The distance of the speakers from the listening point, to set automatically the time delays.

START THE GUIDED PROCEDURE

Connect the outputs of the player to the inputs of the product

Notes:

To avoid any issues due to low battery voltage, connecting an automotive 12V power supply (capable of 20A of current) to the battery is recommended.
AF bit amplifiers feature PC POWER ON, which maintains the “on” state for the device as long as the PC is connected to the amplifier via USB. This makes device configuration much easier in modern push-to-start vehicles, which have timer-controlled accessory circuits.

Connect the source outputs to the device inputs;
Turn on the device and connect it to the PC. Launch the bit Drive application;
Select the device connected on the splash screen;
Click on the icon to start the Wizard Configuration;

Selezione Wizard.png

Note: if the device already had a setup saved in its memory, it is suggested to do a reset procedure (check 2.2 INITIAL SETTINGS to know how to reset the device), restart the device and then run the Wizard Configuration.

1. Start

Press Start to start the wizard procedure.

2. Sources

In this section, the user can enable the Optical auxiliary input and an additional input SPDIF Coaxial or Optical if the input extension card F2O is installed.

Press Next to proceed to the following step.

Note: If the Optical source is not in use, but is left enabled in this step of the Wizard, a DRC AC controller might be used to select the Optical input, and the result would be no sound at all. For this reason, it is recommended to disable the Optical input when not in use if a DRC AC is present in the system.

3. Input configuration

Set the type of used Input channels: Low Level (PRE-IN) or High Level (SPEAKER IN).

Note:

Each channel can be used in either Low Level or High Level mode, but both inputs cannot be used for the same channel at the same time! If using both types of input, select High Level, and then after the Wizard process is complete, edit the settings for the channels using the Low Level inputs
The ART signal-sensing turn-on function works only on Channel 1 of the SPEAKER IN connector - if Channel 1 is only used on the PRE IN harness, ART will not operate.
The AF bit amplifiers cannot accept both F4IN and F2O at the same time.

In case of a source with more than 8 signals, the user can use accessories to add more analog input channels (for example the F4IN optional accessory, which can handle more input voltage than the native inputs of the AF bit amplifier, up to 32V RMS).

Manual setting: click on User defined to set manually the list of input signals.

Input presets: click on one of these presets as appropriate. The input signals will be properly assigned

For configurations where there is no dedicated signal for the Sub in the source, you can choose where to take the signal for a possible Sub output of the amplifier. The default setting is to derive it from the Fronts inputs, but by clicking it opens the drop-down menu to change your choice if you prefer.

Press Next to proceed to the following step.

4. Input sensitivity

Procedure for automatic calibration of the input sensitivity. Press Next if the user wants to do this procedure manually later on, otherwise Press Start to run the automatic procedure:

Play the track “1-SineSweep” from the source.
Set all tone controls to zero (flat).
Set Balance and Fader controls to the centre.
Set the source volume to the maximum undistorted level.

Note: The Virtual LEDs in the bit Drive software do not indicate the maximum undistorted level of your source. The Virtual LEDs illuminate red when the input voltage exceeds the selected voltage threshold. To test for the maximum undistorted level of the source unit, use Audison’s bit Drive test tool, or an oscilloscope.

If the input signal’s maximum undistorted level cannot be confirmed with test equipment, set the source’s volume control at 75-80% of the maximum level. If the source unit does not indicate its volume level setting, safely turn the source volume control to its maximum, then to its minimum, counting the presses required to reach a 0 volume level. Then turn the source volume up appropriately. For example, if there are 60 steps to go from full volume to 0 volume, turn the volume control 45 steps up from 0.

Manual setting

Set the sensitivity of each input by clicking on the drop-down menu to change the voltage scale. To choose the scale correctly, observe the color of the virtual LED:

- Red -> voltage scale too low compared to the input signal (KO)
- Absent color -> signal absent or with too low level (KO)
- Green -> voltage scale greater than the input signal (OK)

Once the green color is obtained, it is recommended to reduce the voltage scale to the minimum value necessary to keep the LED green. In this way it is possible to take advantage of the maximum possible gain in the Input section.

Automatic setting

Click Start to begin the automatic procedure for calibrating input sensitivities. Click Next if you want to perform this step manually later (see section 5.2.1)

IMPORTANT: DO NOT perform this procedure with a low source volume level setting! Signal-to-noise will suffer resulting in high levels of noise. If a “variable loudness” circuit is present, the frequency response results at higher volumes will be poor.

Once this volume level is selected, keep the volume at this level until the process is completed! If the vehicle accessory circuit timer expires and you must turn the accessory circuit back on, confirm that the source volume is still set to the proper level.

At the end of the procedure, stop the track playing from the source. All Virtual LEDs for all used input channels should illuminate green.

Note: If “no signal” is detected on a channel during this process, but the Virtual LEDs indicate that signal is present, ensure you are using the correct test track and try again. If the issue continues, skip to the next step and set the input sensitivity manually after the process is complete.

Press Next to proceed to the following step.

5. Input delay / Polarity check

Procedure for automatic calibration of input delays and input polarity.

The user can press Next to skip the process. To perform the pocess: Press Start to perform the following steps:

Play the track “3-Pulse” from the source.
Press Start and wait until the analysis ends.

The software shows the time delays detected in the source, and automatically applies the correction to realign the signals in the time domain.

Press Next to proceed to the following step.

6. Input de-EQ

Procedure for automatic Input de-Equalization. The user can press Next to skip the process.
To perform the process:

￭ Play the track “1-SineSweep” from the source
￭ Press Start and wait until the analysis ends

For the selected channel the graph shows in yellow the signal coming from the source and in blue the same signal coming with the correction applied by the processor.

The analysis will be performed for all the input channels defined at the step 3.

Press Next to proceed to the following step.

Note: if any errors occur during the process (signal not detected, level too low, etc…) a warning will be displayed. If this occurs, the user can decide whether to retry, or skip the de-eq for the channel, or abort the process and proceed to the next step.

7. Output setup

The user can choose whether to set manually the outputs or among a list of preloaded models.

Manual setting:

By clicking on the empty car icon you can manually select all the exits, recalling them from the drop-down menu below. From here you can select both the type of speaker connected and the normal or bridge configuration.

Preloaded models: click on the desired model and the Output list will be automatically filled in.

By clicking again on the User defined window (the diagram of the car with no speakers), the user can then modify manually the list the preloaded speakers. This allows adding options like Bridged channels, changing a speaker type in the list etc…

The user can also choose to insert the speaker model from the Audison or Hertz catalogue. The software will then load a crossover optimized for the performances of each speaker type.

Press Next to proceed to the following step.

8. Default volatile data

IMPORTANT: Be sure to configure these settings appropriately before finalizing the device to ensure proper operation of the product even after power loss. Otherwise you may lose the audio signal output and some vehicle safety sounds may not be played. These features include hands-free calling, automatic emergency calls, and parking sensors. In addition, the vehicle may not have sufficient volume, or sufficient level for the subwoofer, or may have poor sound level due to incorrect memory selection, or Final Tuning disabled.

9. Finish

Press Done to end the Configuration Wizard.

Note: At this point, the user may want to view the results of the de-EQ process in the electrical Input RTA, and may decide to optimize it by making adjustments to the input EQ settings. The user may also decide to test for phase-manipulation in the OEM signal. To do this, a mono pink noise test track (track 4) is required. See Section 4 for more information.

At the end of the procedure, the software shows at the bottom the loading bar of all the data set in the Wizard configuration.

4. ELECTRICAL RTA, INPUT EQ AND DELAYS

The bit Drive software includes a powerful tool for analyzing input signals, a multi-channel input analyzer called electrical RTA. The electrical RTA is displayed within the Input EQ window, and displays the effects of the Input EQ and Input Delay settings in real time.

It is recommended to use a full-range mono (correlated) pink noise signal (like Track 4 - Pink noise) with the electrical RTA.

The Input RTA does not measure phase, rather it allows various channels to be temporarily summed together and displays the result. To determine if two channels are in phase with each other, the user can sum them together: if the content of the two channels are the same amplitude, and are in phase with each other, the resulting measurement will increase +6dB. Any change less than +6dB in the sum indicates some degree of phase misalignment at that frequency. For more information on using this technique, see Audison’s Technical Documents and educational information.

The user can select the INPUTS window and then press the Input equalizer button shown below to open the tool.

apertura strumento.jpg

The following window will appear:

Input EQ

Input phase polarity inversion

This allows to flip the Input phase by 180°, without need of changing the physical cable connections.

12-band parametric Input Equalizer for each channel

This equalizer is Parametric in operation. Each band can be configured as a Peak EQ filter, a Low- or High-Frequency shelf filter, a notch filter, a 1st-order phase-inverting all-pass filter, or a 2nd order phase inverting all-pass filter.

Gain, Center Frequency, and Bandwidth values can be adjusted either with the virtual slider or by clicking in the text field and inserting the exact value by keyboard.When a band is selected, the corresponding point on the graph will be highlighted.

The filter types available are:

Peak EQ filter: the user can select Gain, Center Frequency (any frequency between 20 - 20kHz), and Bandwidth (Q). +/- 12dB of gain is available. The Q value can be set between 0.5 and 16.

Shelf filter (Low or High): the user can select Gain, Center Frequency (limited to the lower or higher end of the frequency range, respectively), and Bandwidth (Q) from 0.5 to 1.41

Notch filter: the user can select Center Frequency and Bandwidth. The Q value is variable from 1.44 to 16. Gain is not available;
1st ord allpass.jpg 1st-order All-Pass filter: the user can select Center Frequency. A 1st- order all-pass filter gradually changes the phase 180° above a given frequency. Above that frequency, the phase will transition from normal to 180° inverted. Gain and Bandwidth are not available.;

1st ord allpass effect.jpg

2nd ord allpass.jpg 2nd-order All-Pass filter: the user can select Center Frequency and Bandwidth. Gain is not available.

A 2nd-order all-pass filter gradually changes the phase 360°. At the Center Frequency of a 2nd-order all-pass filter, the phase value has been changed 180° (the change is halfway to completion). As the phase approached 360°, the signal is essentially back in phase with the signal below the 2nd-order all-pass filter. The Bandwidth (Q) controls the width of the filter, or, how gradually the phase changes from 0° to 360°.

2nd ord allpass effect.jpg

Note: It can be useful to think of a 2nd-order All-Pass filter as changing the phase from 0° to 180° at the Center Frequency, and then back to 0°. While this is not a strictly accurate description from a technical perspective, it is a good functional description.

2nd ord allpass effect_2.jpg

Input delay

Allows each Input Channel to be delayed individually. The user can change by:

Click in the text field, and Insert the value using the keyboard
Clicking the + and – buttons (fine set), to increment/decrement the delay by steps of ±0.01 ms:

To check for time delays in the source:

play track 4 – Pink Noise and select the Input channel concerned
add it with the channel of the same Front if present (for example if you want to check channel 1 – Front Left Tw, add it with channel 3 – Front Left Wf).

a. If the electrical sum increases by +6dB at all frequencies, the two channels are aligned in time and phase and no further control is necessary.

b. if the resulting response has deep holes present at periodic intervals, a "comb filter", this indicates that a time delay is in use in the Source for one of these channels.

To correct a comb filter trend, open the Delays tab in the lower-left corner of the RTA window. Add delay to the far channel (in LHD vehicles, this is usually the even channel). The comb filter should move to the right of the RTA graph, affecting higher and higher frequencies. Increase the delay until the response is flat.
If the comb filter starts decreasing as you add delay to one channel, reset that channel's delay to "0 ms" and start adding the delay to the other channel you are adding instead
The goal is to get a flat response to all frequencies.

Example of "comb filter" due to time delays inserted in the source.

Comb filter.jpg

Channel view selection

Select the input and/or output channels to show in the monitor. The input channels are always white text, while the output channel labels follow the same colors applied in the main window.

Note: If multiple Input channels are selected, the analyzer screen will display the electrical sum of the selected channels. If an Input Channel and an Output channel are selected at the same time, they are displayed independently.

Electrical Real-Time Analyzer Display

Shows the signals selected in the previous point. The input sum graph is shown with white color, while the sum of the outputs is light blue.

By pressing the right arrow the user can open the monitor settings. Once these settings are changed, the change is retained and will be unchanged the next time the bit Drive software is opened.

impostazioni monitor.JPG

It is possible to adjust:

The resolution (that is, the number of Bands displayed)
1/3 = 30 bands, 1/6 = 60 bands, 1/12 = 120 bands
Sampling average (very short, short, normal, long); (Normal or Long is recommended)
Maximum and Minimum Graph scale limits These change the vertical resolution of the display.
If too wide a range is displayed, changes in amplitude can be difficult to discern.

EXAMPLE 1: one input channel.

EXAMPLE 2: electrical sum of input channels

EXAMPLE 3: one output channel

EXAMPLE 4: electrical sum of output channels

EXAMPLE 5: electrical sum of input channels (yellow) and electrical sum of output channels (blue)

5. OUTPUTS TUNING

5.1 SOURCE SETTING

Configuration of the available sources.

Selection button

to select the source.

Source settings panel

the user can label source. This is helpful mostly when multiple sources are present. It is suggested to disable the sources that are not used.

Note: the Master source is always active by default and cannot be disabled.

Help

to open the inline help

5.2 INPUT CHANNELS CONFIGURATION

On this panel it is possible to select, rename and assign the input channels of each source.

5.2.1 ANALOG INPUT CHANNELS.

Analog input channels.jpg

Input channel settings panel

The input channel can be renamed (max 16 fonts) and enabled/disabled.
It is suggested to disable the unused input channels.

Analog input channels_settings.jpg

Input channel name

this is only for reading, and it can be edited from the previous point.

Sensitivity

The input sensitivity setting determines the input voltage required for the amplifier to reach rated power. If the input sensitivity setting is set too low for an input channel, that input will clip easily and the Input Virtual LED in the software will illuminate red.

Select the input channel sensitivity from the drop-down menu. This menu shows a double sensitivity scale for each channel. The lower number indicates the sensitivity when using the PRE IN input for that channel, and the higher number indicates the sensitivity when using the SPEAKER IN input for that channel.

The signal level can vary from 0.6V to 6V RMS for PRE IN inputs and from 2.2V to 22V RMS for SPEAKER IN inputs.

MANUAL CALIBRATION OF THE SENSITIVITY

Play the track “1-Sine_sweep” from the source.
Set all tone controls to zero (flat).
Set Balance and Fader controls to the centre.
Set the source volume to the maximum undistorted level.
If the source has an internal EQ, make sure that the controls are set to zero (flat).

If the input signal’s maximum undistorted level cannot be confirmed with test equipment, set the source’s volume control at 75-80% of the maximum level. If the source unit does not indicate its volume level setting, safely turn the source volume control to its maximum (with output channels muted), then to its minimum, counting the presses or “clicks” required to go from maximum volume to the minimum volume level. This is often in the 45-65 “click” range. Calculate 75% of the total number of “clicks” between the maximum and minimum and use that as your calibration volume. For example, if there are 60 steps between full volume and 0 volume, use 45 as your calibration volume.

Select the sensitivity value that does not cause any clipping of the input. Step by step, select higher sensitivities (decreasing values on the scale) until the clipping LED of the channel (4) starts red blinking. At this point go back with the sensitivity scale, step by step, until the LED stops blinking red.
Repeat the operation for each of the used analog inputs.

Note: For most head units, the rated output of the head unit is a reasonable starting point. For most OEM deck-power systems, 8-9V AC is a reasonable value. For more detailed comparison, the electrical RTA in the Input EQ window can be used to quantify and compare amplitude.

LED for the channel clipping

The LED lights up with green color when signal is present at the input; it becomes red when the input is in saturation.

The LED illuminates green when signal is present for at least one of the inputs; it illuminates red when at least one input is saturating, or clipping.

Notes:

Each channel can be used in either Low Level or High Level mode, but both inputs cannot be used for the same channel at the same time! If using both types of input, select High Level, and then after the Wizard process is complete, edit the settings for the channels using the Low Level inputs.
The ART signal-sensing turn-on function works only on Channel 1 of the SPEAKER IN connector - if Channel 1 is only used on the PRE IN harness, ART will not operate.

5.2.2 DIGITAL INPUT CHANNELS

Digital input channels.jpg

On this panel it is possible to enable/disable and rename the input channels. It is not possible to set the sensitivity since the digital signal is already set to 0 dB by default.

How to set Optical Source to be always active

Read the FAQ How to set Optical input to be always active

5.3 OUTPUT CHANNELS CONFIGURATION

The following picture shows the panel to configure the output channels.

Output channel settings

Output-settings-Front-Left-TW.png

A. Name: for each active channel the user can assign a name(ex. “FL TW” max 16 fonts).

B. Channel name: Channel name: defines the speaker type. The software will automatically set a proper crossover filter to avoid damages of the speaker.

IMPORTANT: if the Channel name is left as Unknown, the output channel will be set as Full Range, thus without any predefined crossover applied. To apply a crossover later on please refer to section 5.4 CROSSOVER SETTINGS.

C. Speaker model: choice of the speaker model from the Hertz or Audison catalogue. The software will automatically assign a preloaded crossover filter optimized for that model performances.

D. Enable/Disable channel.

E. Bridge: This setting does not bridge the output channels of the amplifier - that is done by wiring the amplifier properly (see the manual for the amplifier model being installed for more information on proper bridging wiring). This setting drives both channels with the identical output signal, and controls both channels of level with a single output control in the bit Drive software.

Note: If powering a dual-voice-coil subwoofer with two stereo output channels, the Bridged setting can be used in software to link the two outputs together for tuning purposes.

F. Info: Displays if the active channel is an amplified output channel (SPK OUT), or a preamplified output channel (PRE OUT).

G. Zone: assigns the channel to a speaker zone (group of speakers). The user will then be able to control the zone volume with a dedicated command.
By default all channels are set for “Zone 1”.

Note: Most automotive audio systems do not use the Zone functionality.

Output channel name

for display and identification only

Output channel level (-40 ÷0 dB)

the slider-type controls will be active if the channel is enabled.

Note: If the Bridging function is enabled, that stereo pair’s output level controls are linked together and adjusted with a single slider-type control.

Virtual LED for the channel clipping

The Virtual LED illuminates green when signal is detected at the output, and red when the output is clipping (distorted).

Virtual LED for the inputs clipping

The LED lights up with green color when signal is present for at least one of the outputs; it becomes red when at least one output is saturating.

The Virtual LED illuminates green when signal is detected on one or more of the inputs, and red when one or more of the outputs is clipping (distorted).

Mute

mutes the channel.

Solo

mutes all channels except for the selected one.

Note: It is possible to use the Solo function on multiple output channels at the same time

Link

link output levels.

link not active (default)
link L/R (es. Front Left TW - Front Right TW)
link by front (es. Front Left TW - Front Left MID - Front Left WF)
link L/R and by Front (es. Front Left TW - Front Right TW - Front Left WF - Front Right WF)
link all.jpg link global (all outputs)

Note: the association of an output channel to a Front is set automatically according to the setting “Channel name”.

esempio link fronti.jpg

5.4 CROSSOVER SETTINGS

This panel allows to set the crossover of the selected channel. All the controls will be colored as the selected output channel. The user interface accent color indicates the currently-selected output channel.

Type

select the crossover type. Available options are: Flat (filter not applied), High Pass, Low Pass, Band Pass.

Name

specialize the filter as: Butterworth, Linkwitz-Riley, Bessel, Chebyshev, QLP (quasi-linear phase).

Slope

select the filter slope in the range 6dB/12dB/18dB/24dB/30dB/36dB/42dB/48dB, with the exception of QLP type which works only at 6 dB.

Frequency

select the cut frequency in the range 20Hz÷20kHz. The value can be set by keyboard on the text box or by moving the virtual knob.

Phase

Invert the signal phase by 180° for that specific output channel, at all frequencies.

Note: If Left and Right are linked together, inverting one output channel will invert the other at the same time.

Copy

copy the current crossover settings and paste on selected output channels. The copy is only temporary and do not applies to the following crossover changes.

Link

Note: Defining an output channel as “Front” or “Rear” is done automatically, depending on the “Channel name” .

esempio link fronti.jpg

5.5 MIXER

After defining the system Inputs and Outputs, the user must set the mixer to define the audio signal routing. The mixer allows to set each output signal as weighted sum of the input signals.

IMPORTANT: as soon as the Mixer is adjusted, sound will be sent to the speakers. It is suggested to keep the volume low to avoid any risk of speaker damage.

Click on the icon below to access the Mixer.

Mixer button.png

The Mixer has the following interface:

The tool is built as a matrix:

Rows are the input signals of the selected source;
Columns are the output signals.
The yellow highlighted blocks are related to the Upmixer function.
Note: If the user didn’t use the Configuration Wizard, the Mixer is set to 0% on all channels by default, and the system will not play any sound.

Each Output Channel can receive a contribution from any combination of Input Channels. This contribution is defined in a percentage value. The percentage value can be defined by using the arrow keys, using the + and - keys on the keyboard, or by clicking in the text field and entering the desired value.

Notes:

If an input channel is disabled, the corresponding row will be empty; if an output channel is disabled, the corresponding column will be empty.
Each source has its own Mixer. If a source is enabled, but its Mixer has not been set yet, the Status bar will show a warning message. (see sect. 5.5)
If an output channel is assigned to a different zone, it is important to select the zone that contains that channel to open the proper Mixer settings.
If the Mixer shows unused input signals or output signals that do not receive any contribution from the inputs, the Status bar will show a warning notification in the lower right corner.

IMPORTANT: each output channel should receive a total contribution of no more than 100%. The only time that this 100% total may be safely exceeded is if the two summed channels do not overlap in their passband (i.e., non-attenuated) content. If the same frequencies are added together in the mixer in an amount exceeding 100%, digital clipping may occur. If questions arise, use the electrical RTA in the Input EQ window to verify the passband for each channel.

MIXING ANALOG AND DIGITAL INPUTS

In the Mixer of each Source available in the product it is possible to add also Input channels of other Sources. This functions allows to create "customized" Mixers for each Source.

To add Input channels of other Sources you can press the button and select which Input channels you want to add, as per following example.

Each Input channel can be removed at anytime by pressing the button Pulsante_rimuovi.jpg

Example 1: Mixer of the Master Source with added channels from Optical Source

Example 2: Mixer of the Optical Source with added channels from Master Source

5.6 DELAYS AND DISTANCES

The following image shows the output delays panel:

Distance/Delay

select Distance if you want to insert the speaker distances from the listening point.
Note: please, remind that the distance value entering will erase and recalculate the time delay values for each output channel.
Note: please, remind that bitDrive will automatically calculate the time delays for each output channel according to the distance values entered. The time delay values are always editable by switching to Delay mode.
select Delay if you want to insert manually the time delays in ms.

Link

press this button if you want to link two or more output channels for the fine tune of time delays.

To fine tune, select the checkboxes of the channels that you want to link and edit the delays by pressing the up/down arrows

Help

Opens the inline help for this section.

5.7 OUTPUT EQUALIZER

The bottom section of the main screen contains the Output Equalizer panel.

Output EQ.jpg

Each band can be configured as a Peak EQ filter, a Low- or High-Frequency shelf filter, a notch filter, a 1st-order phase-inverting all-pass filter, or a 2nd order phase inverting all-pass filter.

The Gain, Center Frequency, and Bandwidth values can be adjusted either with the virtual slider or by clicking in the text field and inserting the exact value by keyboard.When a band is selected, the corresponding point on the graph will be highlighted.

Type;
Gain;
Center Frequency;
Q factor.

The types available are:

low shelf.jpg Peak EQ filter: the user can select Gain, Center Frequency (any frequency between 20-20kHz), and Bandwidth (Q). +/- 12dB of gain is available. The Q value can be set between 0.5 and 16;

low shelf.jpg Shelf filter: (Low or High): the user can select Gain, Center Frequency (limited to the lower or higher end of the frequency range, respectively), and Bandwidth (Q) from 0.5 to 1.41;

Notch filter: the user can select Center Frequency and Bandwidth. The Q value is variable from 1.44 to 16. Gain is not available;
Allpass 1 ordine.jpg 1st-order All-Pass filter: the user can select Center Frequency. A 1st-order all-pass filter gradually changes the phase 180° above a given frequency. Above that frequency, the phase will transition from normal to 180° inverted. Gain and Bandwidth are not available;

1st ord allpass effect.jpg

Allpass 2 ordine.jpg 2nd-order All-Pass filter: A 2nd-order all-pass filter gradually changes the phase 360°. At the Center Frequency of a 2nd-order all-pass filter, the phase value has been changed 180° (the change is halfway to completion). As the phase approached 360°, the signal is essentially back in phase with the signal below the 2nd-order all-pass filter. The Bandwidth (Q) controls the width of the filter, or, how gradually the phase changes from 0° to 360°.

2nd ord allpass effect.jpg

2nd ord allpass effect_2.jpg

EQ CONTROL PANEL

Link EQ

links to EQ of the corresponding channel in the opposite front (for example Front Left Tweeter will link to Front Right Tweeter).

Note: Using the Link function to link Left and Right Output EQs will cause any all-pass filter to be applied to both the Left and Right output channels, which usually limits the effectiveness of the all-pass filter. Before using All-Pass filters on the Output, it is recommended to unlink Left and Right.

Bypass EQ

disable temporarily the EQ applied to the selected channel.

Reset EQ

Reset all settings of the EQ to the factory default flat values.

Note: when clicking on the Reset button the software will show the message below, asking the user to confirm the reset operation.

Copy

copy the EQ settings applied to the active channel, and paste it into all selected channels. The Copy function is a one-time process, and future changes are not duplicated (that is, the two eqs are not linked together). For that purpose the user should use the Link tool (2).

Import from REW

Import the channel EQ settings from REW software.

REW is an advanced software for acoustic measurements and automatic calculation of EQ filters. For more informations please open the Help Center (REW - Room EQ Wizard Room Acoustics Software).

Follow these steps:

1) Take a Measurement with REW and Open the EQ Function by Clicking on the Symbol

2) Select Audison/Hertz as Manufacturer and the proper EQ type depending on the device where you want to apply the EQ settings (for example, Audison AF M12.14 bit requires 15 bands EQ for the output, while AF M1.7 bit requires 31 bands EQ)

Note: if you don’t find Audison/Hertz in Manufactures settings, please make sure to install the correct REW release on your laptop.

Screenshot 2024-05-15 102443.png

3) Set the Crossover types that you used from your Measurement and the Target Level, and the target type as “Speaker driver”

Screenshot 2024-05-15 102549.png

4) Set the frequency Range you want to match with your Target Curve, the Individual Maximum Boost, the Overall Max Boost and the desired Flatness of the Target.

5) Press “Match response to target” and REW will calculate your EQ Bands.

Screenshot 2024-05-15 102613.png

6) Press “EQ Filters” and a new window will open with the Calculated EQ Bands.

7) Press the Save as icon if you want to save the calculated EQ filter settings to your PC as a file

Screenshot 2024-05-15 1027311.png

Or press the Copy icon if you want to copy the calculated EQ to your PC clipboard

Screenshot 2024-05-15 102730.png

8) Select the proper Output channel on bitDrive and press the REW icon. Select Import from File to Import the EQ settings if at step 7) you saved them on your PC as file or select Import from cliboard if at 7) you saved them on your PC clipboard

Screenshot 2024-05-15 102800.png

Help

opens the quick guide.

5.7.1 GRAPH

The graph window displays shows the selected output channel, and tools available to affect the signal sent to the speakers connected to that output channel. The amplitude of the output signals, including the effects of any EQ and crossovers, are displayed on the left edge of the graph, on the vertical axis.

Zoom IN/OUT: reduce/enlarge the graph window.

Note: When using the Acoustic RTA, enlarging this graph is recommended.

visualizza canale.jpg Multiple channels view: clicking on the eye symbol, the corresponding channel will appear in the window, in addition to the channel currently in use. The window can display as many channels as desired.

Sum: in case of multiple channels view, this button will apply and show their arithmetic sum
(No acoustic or phase information is contained in this display mode).

Sezione EQ.jpg EQ section: shows a dotted line representing the frequency response of the selected channel and the selected pole.

Help: open the section inline help.

5.8 ACOUSTIC RTA

The feature shows the acoustic measure on the graph background, thus allowing the user to analyze how the setup behaves while using the software tools to tune. The use of this function requires an external USB microphone connected to the laptop. bitDrive is compatible with all USB microphones up to 24bit resolution.

Note: Before using the Acoustic RTA, it is essential to select the acoustic measure settings (which requires the USB microphone be connected) (see sect. 2.2).

The Acoustic RTA is enabled by pressing the microphone button highlighted below in the command bar.

The analyzer displays the live measurement on the Graph background, thus allowing the user to observe how the system response changes while using the tuning tools. The amplitude of the analyzer measurement is displayed on the vertical scale, along the right edge of the graph.

Acoustic RTA.png

Notes:

when the RTA function is active, certain functions, such as the audio settings icon and the INPUTS tab, are not accessible. Turn off the RTA measurement to gain access to those settings.
Use a good-quality USB measurement microphone, or a good-quality XLR measurement microphone connected to a good-quality USB microphone preamp. Do NOT try to use the microphone internal to your PC. Microphones designed for musical recording rather than measurement will yield unpredictable results.

ACOUSTIC RTA OPTIONS

Click on the right arrow to open the scale limits settings.

Bar/line view
Graph scale limits
Load target curve from file
RTA capture: you capture up to 10 different microphone measures on the same graph

Import RTA measure
Graph snapshot: save the displayed microphone measures in picture format

5.9 AUDIO MONITOR

This tool shows the real-time electrical analysis of input and output signals in the main window. Pressing the button audio monitor.png in the command bar, and selecting the RTA option the following window willshow up in the Graph window.

Note: the Audio Monitor displays the frequency content of the Inputs and the Outputs in the main window of the software, similarly to the electrical RTA window in the Input EQ. However, the Input EQ is not available while viewing the Audio Monitor.

The window is composed as follows:

Monitor selection

Probes

the operator can use one or two probes. Think of “probes” as “measurements”. Multiple channels can be combined into a single measurement.

Channel selection:

shows the input and output channel list (only the enabled ones).

Note: in case of multiple selection, the probe will sum electrically all the selected channels.

Measure settings

Bands division (available values 1/3, 1/6, 1/12);
Average (very short, short, normal, long);

Scale limits

maximum and minimum limits of the graph.

EXAMPLE 1: one probe, one channel

EXAMPLE 2: one probe, electrical sum of channels

EXAMPLE 3: two probes, one channel each

EXAMPLE 4: two probes, sum of channels

5.10 MEMORIES

The bitDrive software features 6 memories where the user can save different setups, selectable by software or DRC AC. The control panel show the following options:

1. Memory settings

it is possible to rename and enable/disable each memory, with the exception of Memory 1 which has to be always active and enables for all sources.

Each Memory preset can be re-labeled

Note: the user can create preferential memories for each kind of source. Consequently, when a source change is done the software will automatically select the first available memory that was enabled for that source type. Instead, if the user selects a different memory (by software or DRC AC) which is enabled only for a source different from the one currently playing, the software will automatically select the first available memory that is enabled for the currently playing source.

IMPORTANT: if Memory presets are left active but unconfigured, and the user accidentally selects a Memory preset without defined crossover filters, damage to the speakers may result!

The two best practices are:

Disable any unconfigured Memory presets to avoid accidental activation.

Copy Memory preset #1 to any active presets without unique configuration settings.

2. Copy

allows to copy the advanced settings of the active memory and paste them on other selected memories.

3. Help

opens the inline Help.

Note: Each Memory preset uses the same Mixer configuration. If the Mixer settings are changed, the change affects all Memory presets, so wheen different Memory settings are selected, the Mixer settings do not change.

5.11 FINAL TUNING EQUALIZER

The Final Tuning EQ differs from the Output EQs in the following ways:

The Final Tuning EQ has 5 bands
The Final Tuning EQ affects ALL output channels simultaneously. (This allows it to be used for final tuning of system tonality, without affecting the symmetry of the matching left/right response the user may have achieved with the Output Channel EQs)
The Final Tuning EQ can be disabled and enabled by the listener, either with the DRC AC or by activating one of the Input Triggers (depending on the configuration of these functions in the bit Drive software.

By pressing the button shown above, the software will open the Final Tuning window.

EQ settings

select the filter panels of the Final Tuning EQ.

Final tuning name

assign a label to the Final Tuning (it will be shown in the main window)

Enable/disable EQ bypass

temporally enable/disable the EQ bypass.

EQ Reset

reset the EQ to default values.

Import from REW

Import the channel EQ settings from REW software.

REW is an advanced software for acoustic measurements and automatic calculation of EQ filters. For more informations please open the Help Center (REW - Room EQ Wizard Room Acoustics Software).

Follow these steps:

1) Take a Measurement with REW and Open the EQ Function by Clicking on the Symbol

2) Select Audison/Hertz as Manufacturer and choose the proper EQ type (for example, Audison AF bit amplifiers require 5 bands EQ for the Final tuning EQ)

Note: if you don’t find Audison/Hertz in Manufactures settings, please make sure to install the correct REW release on your laptop.

Screenshot 2024-05-15 102443.png

3) Set the Crossover types that you used from your Measurement and the Target Level, and the target type as “Speaker driver”

Screenshot 2024-05-15 102549.png

4) Set the frequency Range you want to match with your Target Curve, the Individual Maximum Boost, the Overall Max Boost and the desired Flatness of the Target.

5) Press “Match response to target” and REW will calculate your EQ Bands.

Screenshot 2024-05-15 102613.png

6) Press “EQ Filters” and a new window will open with the Calculated EQ Bands.

7) Press the Save as icon if you want to save the calculated EQ filter settings to your PC as a file

Screenshot 2024-05-15 1027311.png

Or press the Copy icon if you want to copy the calculated EQ to your PC clipboard

Screenshot 2024-05-15 102730.png

Screenshot 2024-05-15 102800.png

Help

open the inline help section.

The Final Tuning can be easily activated/deactivated three ways:

By software: click on the rectangle icon to enable/disable.
By DRC AC / DRC MP CAN: when the controller shows the LED color programmed by software for Final Tuning (see sect 6.7), double-press the knob to enable/disable.
By trigger: enable one of the Control triggers for this action (see sect 6.5).

6. ACCORDO - AUTOMATIC TUNE OUTPUT EQ, DELAYS AND LEVELS

Accordo is an all-new, proprietary tuning algorithm created by Elettromedia Research and Development. It uses a groundbreaking and innovative approach to perform automatic time delay adjustments, output level calibration and channel EQ settings.

6.1 HARDWARE REQUIREMENTS

The preparation for using Accordo is the same as for when you’re tuning a system manually.

You will need either a USB measurement microphone (for example Dayton Audio UMM-6 or comparable)

Dayton UMM-6.jpg

Figure 1: Dayton Audio UMM-6.

- or as alternative an XLR measurement microphone paired through an XLR cable with a USB Audio Interface (such as a Behringer ECM8000 and a UM2 or comparable).

Behringer UM2.jpg Behringer ECM8000.jpg

XLR cable.png

Figure 2: Behringer ECM8000 microphone, Behringer UM2 USB audio interface, and an XLR cable to connect them

Note: We recommend you have two powered USB extensions. This lets you position the PC outside the cabin during the Accordo process.

Connecting a source of clean 12V DC to the vehicle battery will maintain it during the Accordo process and the listening process that follows. The Accordo process itself does not take much time, and it will not deplete a healthy battery - but often the vehicle battery is already partially depleted because of the installation of the system.
Accordo generates its own test tones, so no downloads or CDs are required.

6.2 PRELIMINARY CHECKS BEFORE USING ACCORDO

6.2.1 Confirm your Input Signal

electrical RTA.jpg

Figure 2: All-Pass Filter viewed on the input RTA.

You might wonder why we might need to confirm the signal if Accordo generates its own test tones. The reason is, as soon as Accordo is finished, you’re going to listen to music from the source unit - so there’s little reason to perform the Accordo process until we’re confident that we’re ready.

With both aftermarket and OEM sources, we should confirm that left and right are connected correctly, and front, rear, and sub channels are correctly assigned.

With OEM sources, we should go one step further, and confirm phase and time alignment among the signals. If we detect an all-pass filter, we should correct for it before proceeding.

The same goes for Input delays, we should correct for it before proceeding.

Please, use the electrical RTA analysis available in bitDrive for this operation (Watch Episode 4 of the Youtube tutorials).

electrical RTA 2.jpg

Figure 3: Delay viewed on the input RTA.

If phase and time are aligned, we can proceed to the next step.

6.2.2 Enter the Crossover Points

Figure 4: Crossover Points displayed in List Mode.

Basic crossover points are automatically entered by the Configuration Wizard.

If you didn’t run the Configuration Wizard, make sure that you have entered manually the crossover
points before proceeding.

Best results are achieved by using the optimal crossover points for the speakers you’ve installed.

6.2.3 Quality Control test on the outputs

Solo button.jpg

Figure 5: Using the Solo button.

Use the solo button, play each speaker one at a time, and confirm the proper speaker is playing in the vehicle.

Correct any connection errors before proceeding.

For more detail on these first three steps, see tutorial Video tutorial - Episode 5.

6.2.4 Set up your microphone

Follow the instructions for the microphone you’re using. A microphone stand is recommended for best results

Mic in a stand.jpg

Figure 6: Microphone in a stand.

Accordo can be used with the microphone in a horizontal, angled, or vertical orientation, but the angled and vertical orientation require a mic stand.

0 deg mic.jpg

Figure 7: a microphone at 0° horizontal.

45 deg mic.jpg

Figure 8: a microphone at 45° angle.

Fig 9 90 deg mic.jpg

Figure 9: a microphone at 90° vertical.

Note: in many cases a vertical orientation delivers the best results.

Connect the microphone (or the audio interface) to the PC, either directly, or using a powered USB extension.

Fig 10 connect USB.jpg

Figure 10: Connecting the USB Microphone.

Accordo will perform two measurement sessions using the microphone. While the PC can be inside the vehicle cabin during these measurements, the user should be outside the vehicle while the measurements are taken.

Important: The extensions allow both the user and the PC to be located outside the vehicle.

Fig 11 connect USB ext.jpg

Figure 11: Connecting USB extensions.

Once the microphone is connected to the PC, select it under “Audio Settings”. It is essential that you do this before you begin the Accordo process.

Fig 12 Select USB mic.jpg

Figure 12: Set the microphone input in bitDrive Audio settings.

6.2.5 bit Drive setup

Select the desired memory to use with Accordo

Fig 14 Select MEM Preset.jpg

Figure 14: Select the desired memory where to perform Accordo.

You don’t need to disable the Final Tuning EQ if it enabled, Accordo will bypass the Final Tuning EQ for the entire routine of measurements and calculations. At the end of the routine, Final Tuning EQ will be restored.

You’re ready to use Accordo!

6.3 RUN ACCORDO

Click on the Wizard Icon and select the Accordo Wizard.

Fig 17 Start Accordo.jpg

Figure 15: Run Accordo from the Wizard panel.

Fig 18 Accordo start screen.jpg

Figure 16: initial Accordo page.

1. START

Read the instructions to make sure you are ready to run Accordo. You should have already performed all of the listed preparation shown on this screen, and you should be ready to go.

Click Start.
After you click Start, Accordo will perform some initial preparations, which will take a few seconds.

2. SETTINGS

Select the operation that you want Accordo to perform, and press Next.

Note: by default, Accordo is going to adjust the Level, the Delay, and EQ and Phase.

3. OUTPUT

this screen will show you if any channels are muted or soloed. Confirm that all the listed channels are properly defined, and press Next.

Fig 22 Channel Status.jpg

Figure 18: Output channel check.

4. TARGET CURVE

Select a predefined Target Curve (this window will pop out if you selected Auto level alignment or Auto EQ or both), or you can create a new one.

Fig 23 Initial Target Curve screen.jpg

Figure 19: Initial Target Curve Screen.

Note: we will select a predefined Target Curve in this example

Fig 24 Select Target Curve.jpg

Fig 25 Loaded Target Curve.jpg

Figure 20: Select another target curve from the scroll down list.

You can also use the parametric 11-band EQ to modify your target curve, then save it in your laptop for future use.

target curve modify.jpg

Figure 21: modify the target curve with the parametric EQ.

5. OUTPUT LEVEL CALIBRATION

In this window it is asked to set:

delay time before starting the microphone calibration.
Desired subwoofer volume to be used for Accordo.

Fig 26 Delay Screen A.jpg

Figure 22: set delay time and desired sub volume.

Press Next, and make sure to exit the vehicle and close the doors before the delay time expires.

Fig 27 Countdown 5.jpg

Figure 23: countdown starts.

The following operation is needed to make sure that the microphone can capture a proper signal. Please, raise the Master volume slider until the virtual LED becomes green.

Note: se if the LED is still red after reaching 0dB level, press CTRL and increase the volume further (maximum setale is +6dB).

Fig 28 Level Screen Initial.jpg

Fig 28 Level Screen Initial

Fig 29 Level Screen OK.jpg

Figure 25: Level Adjustment Final Screen.

6. ACCORDO

At this stage, each speaker in the vehicle is being measured individually, and Accordo will process the data. This step will take less than one minute.

Fig 31 Measurement .jpg

Figure 31: Measurement Screen.

Notes:

If you notice any loud noise occurring during the measurement process or if you open either the doors or the trunk by mistake, press Back and repeat the measurement.
if any measurement error is detected by Accordo, press Back and check the proper connection of the speakers.

Fig 32 Accordo Processing.jpg

Figure 32: Processing Screen.

At this point, the measurements are concluded and the calculations are being performed.

Fig 33 Processing Complete.jpg

Figure 33: Processing Complete.

7. FINISH

Now Accordo is complete. It’s a good idea to save to your desktop, and finalize to your device, at this point.

Fig 34 Final Screen.jpg

Figure 34: Final Accordo Screen.

Many any desired adjustments to the tonality of the system using the Final Tuning EQ. If you want to do any fine tuning using the individual output channel equalizers, there are several bands left available for use on each output channel.

That’s it!

6.4 TROUBLESHOOTING

1. Microphone settings in Windows pc

- Some USB microphones must be adjusted in Windows settings.
- If Accordo reads “SIGNAL HIGH” at this step, with the slider set at low level, you can go into Windows and turn down the mic level as shown below.

Fig 36 Low Signal.jpg

Figure 35: signal high with slider at minimum level.

41 Higher Mic level B.jpg

Figure 36: Low Mic Level on Windows settings.

If Accordo reads “SIGNAL LOW” at this step, with the slider set at high level, like this, you must go into Windows and turn up the mic level as shown below.

FIg 37 Low Mic Level .jpg

Figure 37: Signal low with slider at maximum level.

40 Lower Mic Level B.jpg

Figure 38: Higher Mic Level on Windows settings.

2. Compatibility with Maestro AR

As of bit Drive 2.0, Accordo is not compatible with Maestro AR.

3. Use of bit Tune microphone with Accordo.

The bit Tune HSM microphone can be used with Accordo by following these steps:

1. bit_Tune_SW-3.1.1.0 must be installed in your laptop (bit Tune - webpage)

2. The HSM microphone or LPM microphone must be connected to the bit Tune and placed in the listening position as shown below

bitTune with Accordo.jpg

3. the relative calibration file (available with bit_Tune_SW-3.1.1.0 as per picture below) must be loaded as Microphone calibration file in the bit Drive Audio settings.

bit Tune mic files.jpg

4. Select the WASAPI drivers as Input Device in the bit Drive Audio settings..

bit Tune driver.jpg

5. bit Tune SW must be opened and running with acoustic RTA active while using its microphones in bit Drive, both for Acoustic RTA or ACCORDO runs in bit Drive.

Note: with HSM microphone, only the front mic (#3) will be used for both RTA and ACCORDO.

4. What happens if Final Tuning or Bass Boost of Superbass functions were enabled before running Accordo?

The Accordo measurement routine automatically bypasses any setting of Final Tuning, or Bass Boost or Superbass (these two are available with AF M1.7 bit).

At the end of the Accordo Wizard, bitDrive will act as follows:

Final Tuning will be restored as it was before running Accordo.
Bass Boost and/or Superbass will remain disabled. If you wish to enable them back, please do it manually.

5. Accordo warns about problem in the calculation of time delays and these are all left to 0 ms value.

This indicates that either the background noise is too high for the microphone measure or the Subwoofer response was not cleanly detected.

Please, try to repeat the procedure by doing one of these changes:

in the Output Level Calibration increase the slider level up to +6dB
in the Output Level Calibration set the desired subwoofer volume to 0 dB
if steps 1. or 2. do not solve, try to close Accordo window and change the Subwoofer crossover from LowPass to Flat. Perform Accordo with this setting and at the end of the procedure proceed to restore the Subwoofer crossover to LowPass.

6. Accordo did not EQ the subwoofer channel

This is intended in the Accordo processing, since the wavelengths involved are very long (making the measurement problematic) and the sonic improvement from EQing the subwoofer is very small.
Many manual-tuning approaches also leave the subwoofer unequalized. As with all
the other output channels, the subwoofer channel output EQs can be used for fine tuning
the sound if desired.

7. Windows Audio tips

Audison’s Bit Drive software runs on Windows PCs, and it can use microphones connected to those Windows PCs. In some cases, the default settings on a given Windows PC must be changed.

Windows Settings and Windows Control Panel

Windows Settings is a simplified version of the Windows Control Panel, but for advanced audio settings, access Control Panel -> Sound and check the Properties for individual Input Devices. (In Settings, type “Control Panel” in the search bar).

Audio Input Devices

A USB microphone has a built-in USB soundcard. XLR microphones require an external USB sound card. Either way, that sound card appears in Windows as an “Input Device” whenever it is connected to a USB port. Another Input Device is Audison Link. This appears in Windows only when bit Drive software is connected to an Audison processor via USB cable (it is not present when bit Drive software is operated in Offline mode).
Windows can enable and disable individual Input Devices. Make sure that the microphone/sound card you are using is enabled. Also make sure Audison Link is always enabled as an Input Device (disabling Audison Link will disable the Input RTA and also disable the Accordo Wizard).

Screenshot 2025-06-05 170825.png

Levels of Input Devices

If the Input Device level in Windows is set too low, this causes the Acoustic RTA to read low, and Accordo may not be able to detect signal properly. This can prevent the user from getting a green light in the initial calibration step - a red light would be displayed, with a text notification that insufficient signal has been detected. If the Input Device level is too high, Accordo may show a green light at the beginning of the calibration step (while the level control is still set to -24dB), or a red light may be displayed with a text notification that the level is too high. You may need to try a few times to find the right setting for your PC and your microphone.

Note: In the screenshot below, the Microphone level MUST be turned up. Also, the MUTE icons on the right must not show a red slash (indicating that the microphone is muted)

mic windows properties.png

ACG and Enhanced Audio

Finally, Windows sometimes offers “AGC” or “Enhanced Audio Functions” for Input Devices. These can be seen in Control Panel, under Properties, Custom, or Properties, Advanced. Whenever AGC or Enhanced Audio Functions are offered, make sure they are disabled for both the microphone/sound card you are using and for Audison Link.

7. CONFIGURING OPTIONAL FUNCTIONS

7.1 MASTER VOLUME

The Master Volume control is visible in the lower left corner of the bit Drive main window.

Master Volume.jpg

This Master Volume control can be used in the following ways:

It can be controlled by an optional DRC AC
it can be controlled by an optional Maestro AR interface (see below for more information)
it can be controlled by an optional Audison B-CON in Absolute Volume mode (see the documentation with the B-CON for more information.

If none of these devices are connected to the amplifier, this setting defaults to 0dB.

Note: If an experienced user requires more gain, this setting can be boosted above 0dB, up to +6dB. To do this, the Volume slider must be highlighted, and the CTRL key must be pressed while moving the slider upwards to the desired level.

Master Volume +6dB.jpg

Note: If a value above 0dB is selected, make the corresponding change in the Volatile Data window (section 6.6.2).

7.2 LISTENING ZONES

The listening zones allow to split the output channels in groups, each one with its own level control. This is useful when the speaker distances are long and they be considered part of different listening environments. Each zone can hold one or more channels, to be associated as shown section 5.3.

In the main window there are two different panels for the zone control.

Zone settings panel

Select zone

click on the Zone name to select.

Zone settings

allows to rename the zone.

Help

opens the section's quick guide.

Zone levels management

Livello zona.jpg

Mute: mutes all the channels of the zone selected;
Solo: mutes all the channels not included in the selected zone;
Zone level: change the selected zone level by moving the slider.

7.3 WORKNOTES

The worknotes window allows to save a current setup in the software memory, without the need for saving a file to the laptop.

The snapshot save can be done in two ways:

Manual: the user press the camera button.
Automatic: set the automatic snapshot from the software Settings panel (see sec.2.2) to activate the automatic snapshot every 2 minutes.

Snapshot

click to save the current setup.

Select snapshot

shows the time of the setup save. Click once to restore that setup.

Delete snapshot

click to delete the snapshot.

Note: Each snapshot will overwrite the previous one. If the user wants to save a snapshot configuration to the PC:

Select the snapshot to restore it.
Save in the PC from the Save As command in the command bar.

Help

open the Inline Help section .

7.4 STATUS BAR

The status bar is in the right bottom side of the main window and provides some useful informations to the user.

bit Drive software notifications:

Warning: notifies that there could be configuration problems leading to poor sound, or no sound. This happens for example if in the mixer one or more inputs are not used, or an output channel does not receive any contribution from the input signals.
Info: useful infomations. This messages could show up for example when in the mixer an output channel receives a contribution higher than 100%, or when the delays set for the outputs do not match the speaker distances.
OK: there are no potential errors in the setup.

The number close to each symbol shows the number of messages. Click on the bar to open the list with all messages.

Notes: t

The messages in the status bar acts as reminders and can show possible errors or forgetfulnesses. However, It is not strictly mandatory to correct all the warnings to save the setup or finalize the device.
The notifications in the Status Bar act as reminders to the user, to prevent possible errors. However, Notifications do not prevent operation of the bit device, and it is not required to correct all warnings before saving the Configuration file, or Finalizing the device.

Temperature

dislays the amplifier temperature in both Celsius and Fahrenheit scales

Battery voltage

displays the amplifier supply voltage.

7.5 TRIGGER

Press the icon the command bar to open the configuration panel of the hardware trigger. These can be activated by the Control 1/Control 2 terminals of the CTRL connector. These special functions are activated when the Trigger Input wire receives a +12V signal.

Source change.jpg

terminali fisici.jpg cavo control.jpg

For each trigger input, it is possible to set:

Enable/Disable the input trigger
Action: operation to be executed when the the trigger is activated. Source change, memory change, volume change, enable/disable Final Tuning;
Parameter: set the parameter according to the chosen Action, as per table below.

Action	Parameter
Source change	Master/Optical
Memory change	Mem1/Mem2/Mem3/Mem4/Mem5/Mem6
Volume change	-60÷6 dB
Enable/Disable Final Tuning	Enable/Disable

4. Release time: time delay from the trigger reception to the activation of the programmed action.

Note: If a B-CON is connected to the ADC port, the B-CON's internal commands to the amplifier will override the trigger input commands, and so operation may be different than expected.

7.6 FEATURES

Press the icon in the command bar to open the programmable functions.

7.6.1 Turn On/Off delay

It allows changing the turn on/off time settings of the device.

Note: This allows the installing technician to prevent any possible sonic artifacts due to the different turn-on timing of various devices in the audio system.

7.6.2 Default Volatile Data

set the initial settings for levels and other DSP functions when the device is turned on after that the supply cables were disconnected.

WARNING: If Volatile Data Settings are configured incorrectly, the audio system could stop working after a temporary loss of 12V power. This may cause certain safety systems in the vehicle to lose functionality. See Section 2.4 for more information on PROPERLY configuring Volatile Data Settings.

Note : Press Turn On Enable if you want to apply these parameters every time that the device is turned on

7.6.3 DRC AC

program the DRC functions. For more informations please read the chapter 7.7 DRC AC.

Note: This function is not available offline.

7.6.4 Auto Chimes

The Auto Chimes function allows the correct reproduction of the car's service signals (reverse, parking sensors, door sounds, etc.) even when listening to music via Optical Source.

When activated, Auto Chimes constantly monitors the signal at all analog input channels (if they are enabled in bit Drive).

If you are playing music via Optical Source, and Auto Chimes detects audio signal at at least one of the enabled analog input channels, Auto Chimes automatically forces the switch to Master Source and keeps it active as long as the audio signal is present (i.e. until the service signal is terminated).

When the audio signal is no longer present (i.e. service signal ended), Auto Chimes automatically forces the switch to the previous Optical Source in use.

The Auto Chimes configuration panel is accessible from the Features window and includes the following parameters:

Enable
Enable/disable the function

Memory selected
Allows to set a memory to which the Auto Chimes switches the function is activated.

Release time
Time delay after which Auto Chimes switches back to Optical Source following the end of the service signal.

Threshold
Minimum level threshold on Analog Input channels beyond which Auto Chimes activates to switch to Master Source

Enable volume change

If you enable this setting, when Auto Chimes activates the Master Volume will be set to the chosen value. When the service signal ends and the product switches back to the previous Source, the Master Volume will return to the previous music listening level.

IMPORTANT:

COMPATIBILITY WITH B-CON

Auto Chimes can also be used when using a B-CON (regardless of whether it is connected via ADC port or not). In that case, Auto Chimes always takes priority.

COMPATIBILITY WITH AUTO INPUT SWITCH

Auto Chimes can also be used when the Auto Input Switch feature is enabled. In that case, Auto Chimes always takes priority.

7.6.5 Auto Input switch

The Auto Input switch function manages the automatic switch from Master Source to Optical Source and vice versa when playing music through an external player connected to one of the Digital Inputs.

When activated, the Auto Input switch constantly monitors the signal at the chosen Digital Input (if enabled in bit Drive).

If you are playing music via Master Source and Auto Input switch detects audio signal at the Digital Input selected, Auto Input switch automatically forces the switch to Optical Source and keeps it active as long as the audio signal is present.

When the audio signal is no longer present on the chosen Digital Input, Auto Input Switch automatically forces the switch back to the Master Source.

The Auto Input switch configuration panel is accessible from the Features window and includes the following parameters:

Enable
Enable/disable the funcion

Memory selected
Allows to set a memory to which the Auto Input Switch switches when the function is activated.

Source selected
Select the Optical source where the function must be enabled

Attack time
Time delay after which the Auto Input switch activates and switches to the selected Optical Source following the detection of a signal on it (start of playback from the digital player).

Release time
Time delay after which Auto Input switch switches back to Master Source due to the end of signal detection on the Source selected (stop playback from the digital player).

Threshold
Minimum level threshold on the Source selected beyond which the Auto Input switch activates to switch to Optical Source.

Enable Volume Change
If this setting is enabled, when Auto Input Switch activates the Master Volume will be set to the chosen value. When the function deactivates, the Master Volume will return to the previous Master Volume.

IMPORTANT: when using a B-CON connected with ADC port, the Device volume applies only at the first switch after turning on the B-CON. The following switches will keep the Optical volume set by the user either with DRC AC or mobile device (if Absolute Volume is ON).

IMPORTANT:

COMPATIBILITY WITH B-CON

- B-CON connected via ADC port: Auto Input Switch can be used for Selected Memory and Device Volume. All other parameters are ignored and managed directly by the B-CON, so there is no need to program them.

- B-CON connected via MASTER EN and AUX SEL cables: Auto Input Switch can be used and always takes priority over any triggers set for the source switch via MASTER EN and AUX SEL cables.

COMPATIBILITY WITH AUTO CHIMES

Auto Input Switch can also be used when the Auto Input Chimes feature is enabled. In that case, Auto Chimes always takes priority.

7.6.6 Upmixer

7.6.6.1 What is the Upmixer

An upmixer delivers multichannel sound from two channels of stereo input. This feature helps to overcome many limitations of the automotive environment, by delivering symmetrical stereo presentations for multiple listening locations, and it increases the apparent size of the vehicle cabin.

The bitDrive integrated Upmixer is very flexible and can be configured to enable a variety of systems. The front left, right, and center channel outputs of the Upmixer deliver the stereo presentation. The rear surround channels increase the apparent size of the cabin by enhancing ambiance.

How is the Upmixer structure

The Upmixer block is totally configured within the Mixer in bitDrive.

A -> Upmixer inputs: the Upmixer input block (upper right side) can receive a percentage contribution from each of the Input signals.

B -> Upmixer outputs: the Upmixer output block (lower left side) processes the signals received from the Upmixer inputs and generates 5 output signals, Each of these can be routed to the Output channels with the desired percentage contribution.

IMPORTANT: If you use the Configuration Wizard, the assignment of contributions to points A and B can be managed automatically. bitDrive will automatically assign contributions in the Mixer based on the Inputs configuration, the chosen "Derive Center From" setting, and the Outputs configuration.

Possible Upmixed System Configurations:

Front Stereo, Center-channel, and Sub (3.1)
Front Stereo, Rear Surround, and Sub (4.1)
Front Stereo, Center-channel, Rear Stereo, and Sub (3.2.1)
Stereo, Center, Rear Surround, and Sub (5.1)
Stereo Front, Stereo Rear, Rear Surround, and Sub (6.1)
Stereo Front, Stereo Rear, Center, Rear Surround, and Sub (7.1).

The configurations below all include a subwoofer, but the Upmixer does not provide a dedicated “.1” subwoofer channel - that is still defined in the Mixer. The upmixer can also be used without a subwoofer if desired.

The Upmixer-processed channels can be routed to any desired output channels. Once processed, they can be divided into band-limited, driver-specific channels using crossover filters. The Front Stereo can be full-range, active 2-way, or active 3-way, for example. The Center can be full range or active 2-way. Even the Rear Surround could be configured in this way, although this would be rare in practical application.

With traditional stereo systems, an active tweeter arrangement can be very valuable. With upmixed systems, the greatest value is to have sufficient power for the center, and to use an active 2-way center arrangement whenever possible. Active front Left and Right arrangements are not as important as an active center arrangement. It is always better to bridge to the center for more power than to have an unused stereo channel.

Note: Some premium OEM systems license sophisticated upmixer algorithms. If the vehicle you are working with has an advanced upmixed OEM system, it is often simpler to retain it and pass it through to the upgraded high-fidelity system being installed, rather than to try to return that signal to stereo so the internal Upmixer can be used. Many OEM upmixed systems use processing which cannot be properly reassembled into full-range two-channel stereo.

IMPORTANT: OEM systems often have non-entertainment sounds added to various channels. Do not eliminate any infotainment or safety audio content! Often, OEM center channels contain telematics emergency-call audio, and rear speakers contain often rear parking sensor audio. Ensure that these systems operate properly!

The bitDrive Upmixer can be used with either the Master analog Source, the Optical digital Source, or both.

Note: There is one Mixer configuration for the Master Input, which is active whenever the Master input is selected. There is another Mixer configuration for the Optical input, and it is active as long as the Optical source is selected (in both cases, this is regardless of the Memory Preset selected). This means that an OEM upmixed system can be passed through as the Master Source, without using the internal Upmixer - but an Optical source can be routed through the internal Upmixer if desired.

If the user desired one Memory Preset with upmixing and another Memory Preset with a traditional one-seat tune, lower the Center output channels to -40dB for the non-upmixed preset.

Note: Rear ambiance channels can be effective regardless of whether or not a center speaker is used. 4.1 and 6.1 systems using rear surround channels for ambiance can provide great one-seat performance without a center speaker.

7.6.6.2 Configure the Upmixer

The Upmixer provides best results with 2 channels of flat, full-range, time- and phase-aligned signal. When using OEM signals, channels should be summed together to full-range, and corrected back to a flat frequency response and aligned phase and time response.

Note: With some modern vehicles, this may require some manual correction of phase and time. Always confirm phase and time linearity before you begin tuning.

The front and center outputs of the Upmixer are full range.

If using an OEM system, ensure your front channels are corrected to flat, full-range, and aligned in time and phase.
Using the Mixer, route these front channels into the Upmixer.
Use the Upmixer output channels to supply signal to the desired output channels.

- Front Left e Right
- Center
- Rear Surround

The subwoofer channels can be derived directly from any Input channel, or from the outputs of the Upmixer, as desired.

IMPORTANT: OEM Infotainment Systems often use specific audio channels of the OEM system for non-entertainment sounds. Examples include center speakers playing telematics emergency handsfree-call audio, and rear speakers playing collision-alert notifications. NEVER disable any OEM safety system - always retain all emergency audio and all safety notifications

► 3.1 Front Left / Front Center / Front Right / Sub

Fig 1 3_1 system.png

- Go to the Mixer and Route the Front Left and Front Right inputs into the Upmixer in the Mixer, as shown.

- Use the Front Left and Front Right outputs of the Upmixer to supply signal for the Front Left, Front Right, and Subwoofer channels.

- Use the Center output of the Upmixer to supply signal for the center channel(s).

Fig 2 3_1 Mixer.png

► 3.2.1 Front Left / Front Center / Front Right / Left + Right Stereo Rear / Sub

Fig 3 3_2_1 system.png

- Go to the Mixer and route the Front Left and Front Right inputs into the Upmixer in the Mixer, as shown.

- Use the Front Left and Front Right outputs of the Upmixer to supply signal for the Front Left, Front Right, and Subwoofer channels.

- Use the Rear Left and Right inputs to supply signal directly to the Rear Left and Rear Right channels. Do not go through the Upmixer.

- Use the Center output of the Upmixer to supply signal for the center channel(s).

Fig 4 3_2_1 Mixer.png

► 4.1 Front Left / Front Right / Left + Right Rear Ambiance / Sub

Fig 5 4_1 system.png

- Route the Front Left and Front Right inputs into the Upmixer in the Mixer, as shown.

- Use the Front Left and Front Right outputs of the Upmixer to supply signal for the Front Left, Front Right, and Subwoofer channels.

- Use the Left Surround and Right Surround outputs of the Upmixer to supply signal for the Rear Left and Rear Right speakers.

Fig 6 4_1 Mixer A.png

► 5.1 Front Left / Front Center / Front Right / Left + Right Rear Ambiance / Sub

Fig 7 5_1 system.png

- Route the Front Left and Front Right inputs into the Upmixer in the Mixer, as shown.

- Use the Front Left and Front Right outputs of the Upmixer to supply signal for the Front Left, Front Right, and Subwoofer channels.

- Use the Center output of the Upmixer to supply signal for the center channel(s).

- Use the Left Surround and Right Surround outputs of the Upmixer to supply signal for the Rear Left and Rear Right speakers.

Fig 8 5_1 Mixer B.png

► 6.1 Front Left / Front Right / Left + Right Stereo Rear / Left and Right Rear Ambiance / Sub

Fig 9 6_1 system.png

- Route the Front Left and Front Right inputs into the Upmixer in the Mixer, as shown.

- Use the Rear Left and Right inputs to supply signal directly to the Rear Left and Rear Right channels. Do not go through the Upmixer.

- Use the Front Left and Front Right outputs of the Upmixer to supply signal for the Front Left, Front Right, and Subwoofer channels.

- Use the Left Surround and Right Surround outputs of the Upmixer to supply signal for the Rear Left and Rear Right speakers.

Fig 10 6_1 Mixer.png

► 7.1 Front Left / Front Center / Front Right / Left + Right Rear / Left and Right Rear Ambiance / Sub

Fig 11 7_1 system.png

- Route the Front Left and Front Right inputs into the Upmixer in the Mixer, as shown.

- Use the Front Left and Front Right outputs of the Upmixer to supply signal for the Front Left, Front Right, and Subwoofer channels.

- Use the Rear Left and Right inputs to supply signal directly to the Rear Left and Rear Right channels. Do not go through the Upmixer.

- Use the Center output of the Upmixer to supply signal for the center channel(s). Use the Left Surround and Right Surround outputs of the Upmixer to supply signal for the Rear Left Surround and Rear Right Surround speakers.

IMPORTANT: If the OEM rear channels contain essential non-entertainment sound - or if OEM fader functionality must be retained - there is another approach that can be used for rear surround speakers.

Set each rear surround speaker to derive 66% of its signal from the corresponding rear input. For example, set the Left Rear Surround speaker to receive 66% of the Left Rear input.
Then set the same channel to receive 34% of the opposite channel. For example, set the Left Rear Surround speaker to receive 34% of the Right Rear input channel.
Then use the inversion switch as shown to invert that opposite-side signal. Set up the opposite-side rear surround speaker in the same way - 66% signal from the same side, 34% inverted from the opposite side.
Then set the delay for these rear surround channels to some value between 8 and 12mS. Play them just loud enough to help widen and deepen the stage, but not so loud that the rear speakers sound unnatural.

Fig 12 7_1 Mixer.png

IMPORTANT In some cases the OEM center channel carries essential non-entertainment sounds.

In these cases, split the Center input into both the Left and Right inputs of the Upmixer, and then use the Center output of the Upmixer to supply signal to the Center output channel(s). Align this input with the left and right inputs in time and phase. If the center input signal has a higher highpass frequency than the left and right input signals, it will usually be out of phase with the left and right input channels. A first-order all pass filter may be used in the stop band of the center input to put it back into phase with the left and right sides prior to them being summed together.

7.6.6.3 Tune OEM Upmixed systems

The process of tuning an upmixed system is very different than tuning a driver’s-seat 2-channel system - but it’s not necessarily as difficult to perform. With a driver’s seat 2-channel system, the center image is not laterally in the center of the stage unless we match left and right frequency response, level, and arrival times for the intended listening position. With an upmixed system, the center is in the center laterally because we have a speaker there - in the center of the dash. Now all we have to worry about is center level (to achieve the proper stereo imaging and avoid the “black hole” effect, where the center pulls everything in), the frequency response of the various speakers, and the frequency response of the overall system. The center speaker is the most critical sound-quality speaker in the system. Great results can be achieved with upmixers without any use of delay. If delay is used, symmetrical left/right delay is recommended to address transition-band cancellations. Using traditional distance-based asymmetrical delay to address left/right passband cancellations ruins the symmetrical nature of an upmixed system. (This is a good application for allpass filters).

NOTE: When configuring an upmixed system, do not enter the distances to any listening position into bit Drive! Many tuners succeed with upmixed systems using no delay at all.

One effective approach is to tune each front channel for the near listener. Since upmixed systems can be thought of as recreating the experience of listening to a performance from the audience in a slightly off-center seat, the near front speakers and the center are more critical than the far front speakers. Put the mic in the driver’s seat. Play mono pink noise. Mute all speakers but the driver’s side Front. Tune the driver’s side to the target, adjusting output level and EQ as needed. When the driver’s side matches the target, copy the driver’s side EQ and level settings over to the passenger side. (This is practical since vehicles are generally symmetrical longitudinally. Don’t worry about the steering wheel.) Do not use channel linking, as it will make the use of allpass filters more difficult later in the process. Play both left and right front. Look for cancellations, especially for one in the 200-300 Hz region. To predict the frequency of these cancellations more precisely, measure the distances to the front left and front right speakers from a listening seat, and subtract to find the path-length difference. Use the Technical Document “Path Length Cancellation Chart” to find the cancellations caused by this path-length difference. Test 2nd-order all-pass filters on the worst cancellations and verify that the response is improved. (This method is often only used on the first cancellation, in the 200-300 Hz region, to improve the midbass). Now play the center speaker. EQ the center to the same target. Many tuners may add a 6dB dip at 2500 Hz to the center. Since many center speakers are smaller than the front stereo speakers, and cannot use the same highpass crossover point, there may be a phase cancellation at the crossover point in the stop band region of the center highpass crossover filter. Look for this with the center and the driver’s side speaker playing. A first-order allpass filter can be used on the center output channel to invert polarity below a specific frequency and address this phase issue. Remove the mic and listen in the driver’s seat. Adjust the level of the center and the sides to ensure that left center sounds are directly in front of the left seat, and right center sounds are directly in front of the right seat. If these sounds are too close to the center speaker, that means the center speaker is too loud relative to the fronts. If these sounds are too far from the center speaker, that means the center is not loud enough relative to the fronts. Once this level is correct, also play the rear speakers. Adjust the level to ensure that these rear speakers are loud enough to add ambience, but not loud enough to damage the stereo presentation up front. When listening for bass up front, use of a 2nd-order allpass filter on top of a front/sub cancellation to restore phase alignment can be very effective.

7.6.7 Power Dynamic Management

This function enables the dynamic modulation of the amplifier power, to reduce current consumption and avoid temperature increases due to installation in tight spaces without enough air flow.

7.6.8 Superbass

Note: this feature is available only for AF M1.7 bit

The Superbass feature is available on the Features panel and it allows to enhance the low frequency response with small subwoofer(s) connected to the amplified channel (CH1).

Superbass can enabled/disabled for each of the six memory presets, and does not require any further programming to be used.

7.6.9 Bass Boost

The Bass Boost feature allows to set a programmable Gain for a specific range of frequencies, in order to increase the level of Subwoofer(s) connected to the amplified channel CH1.

7.6.9.1 Bass Boost fixed

Boost is applied in a fixed mode with frequency, gain, and Q set for the desired memory.

Bass Boost fixed presents 3 parameters:

Gain: gain applied in the range of the chosen frequency. Adjustable from 0 dB to +6 dB
Frequency: center frequency at which the Boost is applied. Adjustable from 20 Hz to 300 Hz
Q: from 0.05 to 16

7.6.9.2 Bass Boost dynamic

Dynamic Bass Boost provides a gain that varies according to the signal level determined by Subwoofer Input signal level, Subwoofer Input sensitivity and Mixer settings: a lower input signal level receives a greater bass boost than a higher input signal level, to compensate for the perceived different spectral balance.

The dynamic change in gain applied by the algorithm depends on the values of Lower Threshold (any signal below the threshold will not affect the gain calculation) and Upper Threshold (any signal above the threshold level will not affect the boost calculation, receives a fixed boost with 30% of the maximum gain).

Bass Boost dynamic presents 5 parameters to be set:

Gain: gain applied in the range of the chosen frequency. Adjustable from 0 dB to +6 dB
Frequency: center frequency at which the Boost is applied. Adjustable from 20 Hz to 300 Hz
Q: from 0.05 to 16
Low threshold: available only if Type is set to Dynamic. Is the minimum level threshold of the Input signal, from which the algorithm will start to apply the gain variation
High threshold: available only if Type is set to Dynamic. Is the maximum threshold of the minimum level of the Input signal, from which the algorithm will start to apply the gain variation

7.7 DRC AC

The remote controller DRC AC can be used to turn on/off the amplifier or to do a set of functions programmable on the bitDrive software.
The DRC AC remote controller can perform several functions, all of which are configurable in the bit Drive software.

7.7.1 TURN ON/OFF THE AMPLIFIER BY DRC AC

Press once the knob to turn on the amplifier.

WARNING
For the amplifier to turn on by DRC AC:

the amplifier must be connected to power and properly configured;
the PC Power On must not be active.

A long press on the knob of the DRC AC turns off the amplifier.

WARNING

The DRC AC cannot turn of the amplifier if the amplifier has been turned on by 12V+ on the REM IN input, or by ART detecting DC offset on SPK IN input 1 and 2.

In order to turn off the amplifier by DRC AC:

there must be no +DC signal on the REM IN pin of the CTRL port
if the ART switch is Enabled, there cannot be speaker signal present on Input Channel 1 or 2 of the SPK IN input harness.
A long press on the knob of the DRC AC turns off the amplifier.

Note: The DRC AC cannot turn of the amplifier if the amplifier has been turned on by 12V+ on the REM IN input, or by ART detecting DC offset on SPK IN input 1.

In order to turn off the amplifier via the DRC AC:

There must be no +DC signal on the REM IN lead of the CTRL harness
If the ART switch is Enabled, there cannot be speaker signal present on Input Channel 1 of the SPK IN input harness.

7.7.2 DRC AC PROGRAMMABLE FUNCTIONS

When the DRC AC is connected to the processor, the bitDrive software detects its presence and makes the panel available to configure its functions. In the Features window (see sect. 6.6) there will be a third option to set the DRC AC as per picture below.

Sleep mode: after 5 seconds without using the controller, all LEDs turn off except for one. The sleep mode is disabled as soon as the user comes back using the controller.
Set LED brightness
Programmable functions: the user can set up to 5 functions among

Master Volume
Source change
Memory change
Volume ZONE 1
Volume ZONE 2
Enable/Disable Final Tuning
Sub group Volume

IMPORTANT: at every change of the programmable functions, press the Finalize button to save the new settings into the DRC AC. Otherwise, the settings could be lost, and the system may not operate properly.

Once it has been configured, use the DRC AC as follows:

Press the central part of the knob to move to the following function (among those that were enabled);
Rotate the knob to change volumes;
Press quickly two times the central part of the knob to change source, change memory and enable/disable the Final Tuning.

NOTE: When the optional Audison B-CON is installed and the ADC data cable is used to link the B-CON and the AF bit amplifier, the Source Select function is not available to the user. The B-CON directs the device to select Optical when the B-CON is streaming, and releases the Optical selection when streaming is paused (such as during a phone call).

7.8 AUTOMATIC CHECK FOR UPDATES

In the Settings panel you can enable automatic checking for updates at startup (see section 2.2 INITIAL SETTINGS).

When this function is enabled, bit Drive checks for the latest versions of the software, amplifier firmware and DRC AC firmware on the Audison online portal when it starts.

IMPORTANT: An active Internet connection is required for update checking to work properly.

In case of availability, a notification appears on the right side at the bottom of the main screen.

Click on the popup to close it and, if you want to download the new release found, click on the icon

The following window will appear

Click on the link to access the Support section of the Audison website where all updates are available for download.

8. BITDRIVE MULTIPLE INSTANCES - HOW TO TUNE TWO PRODUCTS WITH ONE PC

Bit Drive features the multiple instance mode of the software. This feature allows you to simultaneously open two instances of bit Drive on a single PC to:

simultaneously configure two amplifiers connected via USB to the same PC;
configure an amplifier connected via USB to the PC and open a setup file in Offline mode for
reference.

IMPORTANT: this function is available starting from the bit Drive release version v.1.0.11.0.

8.1 CONFIGURATION OF TWO AMPLIFIERS CONNECTED WITH USB TO THE SAME PC

IMPORTANT

This mode inhibits some functions of the software in the second bit Drive instance (identified by the abbreviation multi), and could cause incorrect operation even in the first instance:

Input Delay/Polarity check in the Configuration Wizard
Input de-eq in the Configuration Wizard
Electrical RTA in the Input Equalizer window
Audio monitor
Accordo

Therefore, if you want to make full use of these functions for both products, it is advisable to do so with the amplifiers connected to bit Drive one at a time (so not at the same time) and without using this mode.

Follow these steps:

1. open bit Drive and connect to the first amplifier

2. Open the path C:\Program Files (x86)\Audison\bitDrive, and run the bitDrive (multi).exe file.

3. A second Splash screen of the software will show up.

4. Connect to the second amplifier in the list. A second window of bit Drive will open, named as bit Drive (multi) to be differentiated by the first.

WARNING

Do not select the same device that is already connected in the first instance. This may create malfunctions of the product. Therefore, pay attention to the serial number of the product you are selecting.

5. At this point it is possible to configure and finalize the two amplifiers independently through the two instances of bit Drive.

8.2 CONFIGURATION OF AN AMPLIFIER CONNECTED WITH USB TO THE PC AND OPENING OF A SETUP FILE IN OFFLINE MODE

Follow these steps:

1. open bit Drive and connect to the first amplifier

2. open the path C:\Program Files (x86)\Audison\bitDrive, and run the bitDrive (multi).exe file.

3. A second Splash screen of the software will show up.

4. Select the Offline mode and choose the virtual model to open the reference setup file.

5. A second istance of bit Drive will show up, named as bit Drive (multi) to differentiate it from the first.

6. Open the reference setup file in this second istance.

7. At this point it is possible to configure and finalize the amplifier connected and to view at the same time the reference setup file in Offline mode.

9. TUNING WITH MAESTRO AR

iDatalink Maestro AR is a way to eliminate OEM processing - including ANC microphone issues, and fake exhaust note - in hundreds of vehicles. The Maestro AR takes the clean signal intended for an OEM amplified system, and relays it to the AF bit amplifier, along with preamp commands (Volume, Fader, and Tone Controls) needed to retain functions that you and your customer expect. With Maestro AR, the OEM head unit acts as a controller for the AF.

To check for vehicle compatibility, visit the iDatalink website

9.1 HARDWARE REQUIREMENTS

iDatalink Maestro AR unit

a Maestro AR vehicle-specific interface harness (sold separately)

Screenshot 2024-01-20 111307.jpg

an ADS-HRN-AUD4 input adapter for the AF bit (sold separately)

an Audison AF bit amplifier
a PC which can configure Maestro AR and AF bit. You do need to be able to flash the Maestro AR to the vehicle - watch these video tutorials

Screenshot 2024-01-20 111232.jpg

9.2 SOFTWARE/FIRMWARE REQUIREMENTS

bit Drive software release 1.2.0 or higher is required
AF firmware release 1.2.0 or higher is required.

Note: unlike past Maestro-compatible products, there is no special firmware required to use Maestro AR with AF bit. The AR is automatically detected when connected to the “Maestro” port with its proprietary cable!

9.3 CONNECT AND TURN ON THE AF BIT WITH IDATALINK MAESTRO AR

The AF bit can be put in Maestro mode only when it is turned on by the Maestro AR. Please, follow these steps to make sure of a correct installation:

1. Connect the Maestro AR to the head unit (or to the OEM amplifier if that is the case) with the proper Maestro AR vehicle-specific interface harness Watch this video tutorial

2. While the AR originally stood for “Amplifier Replacement”, there are now many instances of coverage where the AR works with non-amplified vehicles. In these cases, the AR often installs behind the OEM head unit, and the optional iDatalink ACC-RCA1 extension harness is needed to extend the data cable to the AF amplifier if you install it in the trunk. The ACC-RCA1 is 5m in length, so it can reach under a seat or to most trunks, and a twisted-pair RCA cable is also needed (sold separately).

3. The OEM head unit signals must be connected to:

PRE IN connector if the Vpp voltage is lower than 5.66 V
SPK IN connector if the Vpp voltage is higher than 5.66 V

4. Connect the Maestro AR connector to the MAESTRO port of the AF bit

porta Maestro.jpg

5. Put the RESCUE switch of the AF bit in OFF position

6. turn on the OEM head unit. Maestro AR will turn on and it will automatically turn on the AF bit in “Maestro” mode

7. Connect the PC to the AF bit and open the bit Drive software. Click on Features window and make sure that the Maestro AR mode is enabled. If so, the window will show the input sensitivity applied to each channel by Maestro AR and the informations about the Maestro AR connected.

bit Drive will show Maestro A/R in the SOURCES list

WARNINGS

Do not connect the DRC AC to the AF bit. With Maestro AR the OEM head unit is your remote controller.
Do not connect the REM IN signal of the AF bit
The B-CON can be used, but the ADC cable must not to be connected since the source switching in this case is managed by the OEM head unit. As consequence, the B-CON go app cannot be used with Maestro AR.
The native Optical input and the F2O board of the AF bit are not available for use. Some Maestro AR installations use theoptical input for signal from the vehicle.
the Input triggers are not accessible in Maestro mode

9.4 TUNING WITH IDATALINK MAESTRO AR

The tuning process with Maestro AR is much shorter than in regular use, as part of the operations is managed by Maestro AR and does not require any intervention of the user.

1) If you already tuned the AF bit before connecting to Maestro AR, it is recommended to press the Device Reset button in bit Drive to restore the device at factory settings.

2) When using Maestro AR you can choose whether to define the setup through the Configuration Wizard procedure, or to define the Outputs manually.

If you decide to use the Configuration Wizard in Maestro mode, the procedure is much shorter and requires only the Ouput definition as per pictures below.

Notes:

when using Maestro AR, all the automatic Input correction functions are removed from the Configuration Wizard (sensitivity, de-Time/polarity check, de-EQ) because Maestro takes care of them.
If you ran the Configuration wizard before connecting to Maestro AR, the automatic Input corrections applied at that time are still active when you will use the AF in Maestro AR mode (even if they are not visible in the Input section of bit Drive).

3) Once the I/O setup has been defined you can start tuning in bit Drive, and Maestro AR and AF bit will automatically synchronize at any change in the software.

Notes:

in bit Drive the Input RTA, Input Sensitivity and Mixer settings are disabled because they are managed by Maestro AR.
in bit Drive the Final EQ is not available when the Maestro AR is in use, since it is reserved for use by the Maestro to execute OEM tone controls.
in bit Drive the Master volume is not available as it is managed by Maestro AR. Please use the Zone volume control to adjust the output level

4) It is suggested to put the Zone volume slider to 0 dB and to set the OEM volume accordingly. We recommend that because this is the way Maestro operates after the tuning is completed: Maestro forces the amplifier master level to 0 dB and it manages the OEM volume changes by modifying the input-to-output contributions in the bit Drive Mixer.

5) Once the tuning process is completed, you can Finalize the AF bit to store all the settings and close the bit Drive software.

The AF bit is now tuned and ready to play with Maestro AR!

10. REW - IMPORT EQ FILTERS IN BITDRIVE

Important: REW compatibility is available with REW version V5.31.2 or higher (download available on REW website)

The REW Import Function allows to Import EQ filter settings from REW, a free software very popular for acoustic measurement and automatic EQ calculations. For more informations read the REW Help Center.

In bitDrive you can find this feature available for both Output channel EQs and the Final Tuning EQ. and it allows to import from REW the EQ settings calculated.

10.1 REW IMPORT ON OUTPUT CHANNEL EQ

Please read section 5.7 OUTPUT EQUALIZER

10.2 REW IMPORT ON FINAL TUNING EQ

Please read section 5.11 FINAL TUNING EQUALIZER

11. RESCUE PROCEDURE

These procedure must be used in case of FW upgrades that were not succesfully completed, which cause missing turn on of the amplifier or other malfunctionings.

Disconnect the supply from the AF bit or remove the fuse and wait at least for 20 seconds

Put the switch in position “RESCUE MODE” and wait at least for 20 seconds.

Reconnect the supply of the AF bit or insert the fuse previously removed, and turn on the supply
The logo of the AF bit will start blinking, meaning that the device is ready to be upgrade in Rescue mode.
Download the firmware from the Audison website. A folder named AFUpdate (vx.x.x.x) will be available in the Downloads folder.
Open the folder AFUpdate (vx.x.x.x), click the file AFUpdate. The following window will appear:
Make sure to read all the warnings, then click Update to start the procedure.

Wait until the operation is completed before disconnecting the USB cable or removing power from the bit device or the PC. At the end the followin message will appear:

Click OK and disconnect the supply from the AF bit or remove the fuse and wait at least for 20 seconds.

Put the switch from position RESCUE to the position ART ON/OFF and wait at least for 20 seconds.

Reconnect the supply or insert the fuse previously removed.

Connect the USB cable between AF bit and PC, turn on the amplifier.
Open the bit Drive software and check that the firmware has been correctly installed.

FAQ - FREQUENTLY ASKED QUESTIONS

bit Drive FAQ

INDEX

INTRODUCTION

1. SOFTWARE AND FIRMWARE INSTALLATION AND MAINTENANCE

1.1 PC SOFTWARE INSTALLATION

1.2 PC SOFTWARE UNINSTALL

1.3 PC SOFTWARE UPDATE

1.4 FIRMWARE UPGRADE

2. PRELIMINARY CONFIGURATION OF THE DEVICE

2.1 INITIAL SCREEN

2.2 INITIAL SETTINGS

2.3 SAVE AND LOAD A CONFIGURATION

2.4 VOLATILE DATA SETTINGS

3. CONFIGURATION WIZARD - INPUT AND OUTPUT SETUP

4. ELECTRICAL RTA, INPUT EQ AND DELAYS

5. OUTPUTS TUNING

5.1 SOURCE SETTING

5.2 INPUT CHANNELS CONFIGURATION

5.2.1 ANALOG INPUT CHANNELS.

5.2.2 DIGITAL INPUT CHANNELS

5.3 OUTPUT CHANNELS CONFIGURATION

5.4 CROSSOVER SETTINGS

5.5 MIXER

5.6 DELAYS AND DISTANCES

5.7 OUTPUT EQUALIZER

5.7.1 GRAPH

5.8 ACOUSTIC RTA

5.9 AUDIO MONITOR

5.10 MEMORIES

5.11 FINAL TUNING EQUALIZER

6. ACCORDO - AUTOMATIC TUNE OUTPUT EQ, DELAYS AND LEVELS

6.1 HARDWARE REQUIREMENTS

6.2 PRELIMINARY CHECKS BEFORE USING ACCORDO

6.2.1 Confirm your Input Signal

6.2.2 Enter the Crossover Points

6.2.3 Quality Control test on the outputs

6.2.4 Set up your microphone

6.2.5 bit Drive setup

6.3 RUN ACCORDO

6.4 TROUBLESHOOTING

7. CONFIGURING OPTIONAL FUNCTIONS

7.1 MASTER VOLUME

7.2 LISTENING ZONES

7.3 WORKNOTES

7.4 STATUS BAR

7.5 TRIGGER

7.6 FEATURES

7.6.1 Turn On/Off delay

7.6.2 Default Volatile Data

7.6.3 DRC AC

7.6.4 Auto Chimes

7.6.5 Auto Input switch

7.6.6 Upmixer

7.6.6.1 What is the Upmixer

7.6.6.2 Configure the Upmixer

7.6.6.3 Tune OEM Upmixed systems

7.6.7 Power Dynamic Management

7.6.8 Superbass

7.6.9 Bass Boost

7.6.9.1 Bass Boost fixed

7.6.9.2 Bass Boost dynamic

7.7 DRC AC

7.7.1 TURN ON/OFF THE AMPLIFIER BY DRC AC

7.7.2 DRC AC PROGRAMMABLE FUNCTIONS

7.8 AUTOMATIC CHECK FOR UPDATES

8. BITDRIVE MULTIPLE INSTANCES - HOW TO TUNE TWO PRODUCTS WITH ONE PC

8.1 CONFIGURATION OF TWO AMPLIFIERS CONNECTED WITH USB TO THE SAME PC

8.2 CONFIGURATION OF AN AMPLIFIER CONNECTED WITH USB TO THE PC AND OPENING OF A SETUP FILE IN OFFLINE MODE

9. TUNING WITH MAESTRO AR

9.1 HARDWARE REQUIREMENTS

9.2 SOFTWARE/FIRMWARE REQUIREMENTS

9.3 CONNECT AND TURN ON THE AF BIT WITH IDATALINK MAESTRO AR

9.4 TUNING WITH IDATALINK MAESTRO AR

10. REW - IMPORT EQ FILTERS IN BITDRIVE

10.1 REW IMPORT ON OUTPUT CHANNEL EQ

10.2 REW IMPORT ON FINAL TUNING EQ

11. RESCUE PROCEDURE

FAQ - FREQUENTLY ASKED QUESTIONS

Related articles