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
per aprire la guida utente.
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.
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.
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).
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 (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.
LED for the inputs clipping
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.
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.
Note: 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
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.
5.3 OUTPUT CHANNELS CONFIGURATION.
The following picture shows the panel to configure the output channels.
Output channel settings
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.
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 global (all outputs)
Note: the association of an output channel to a Front is set automatically according to the setting “Channel name”.
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. For that purpose the user can use the “link” tool (7).
Link
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)
Note: Defining an output channel as “Front” or “Rear” is done automatically, depending on the “Channel name” .
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.
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.
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.
The polarity of the contribution to any Output Channel can be inverted, thus inverting the phase 180°, without affecting any other Output Channel.
Notes:
1. If an input channel is disabled, the corresponding row will be empty; if an output channel is disabled, the corresponding column will be empty.
2. 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)
3. 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.
4. 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.
(see sect. 5.5)
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.
Example 1:
| 100% Input Front Left Woofer + 100% Input Front Left Tw = 200% Front Left Fullrange (OK) |
Low pass and high pass signals.
Close inspection reveals that the pass bands of Input Front Left Tw and Input Front Left Wf are not overlapping, so there is no risk of clipping for the Front Left Fullrange output.
Example 2:
IMPORTANT: NOT RECOMMENDED - The pass bands of Input Front Left Tw and Input Front Right Tw are overlapping, so 200% of ontribution on the Front Left Fullrange output could lead to clipping.
| 100% Input Front Left + 100% Input Front Right Tw = 200% Front Left Fullrange (KO).
|
In both cases the Status bar will show a message. (see sect. 6.6)
Close inspection reveals that the pass bands of Input Front Left Tw and Input Front Left Wf are overlapping, so the Front Left Fullrange output will clip!
5.6 DELAYS AND DISTANCES
The following image shows the output delays panel:
Delays
this window displays the value for each channel’s delay in mS. This value was either calculated due to the distances entered, or was entered manually.
Delay fine set
this allows fine adjustment of the channel delay. Click on the + and – buttons to increase/reduce the delay by 0.01 ms
Link delays
Link output delays:
link not active link by Front Group
Note: the association of an output channel to a Front is set automatically according to the setting “Channel name”.
Insert distances
This window allows the user to enter the speaker distances in cm or inches. The software computes automatically the delays for each channel based on the distance to the various speakers from the listener. The panel can be shown in Channel Map or Table modes.
Note: If the listening point is changed in the System Map, the software does not recalculate the delays.
Help:
Opens the inline help for this section.
5.7 OUTPUT EQUALIZER
The bottom section of the main screen contains the Output Equalizer panel.
For each channel the user can decide whether to use:
◼︎ Parametric EQ with 15 bands
◼︎ Graphic EQ with 15 bands
Every time that the user selects an output channel, the EQ panel will show the controls with the same coloro as the one in the Output channel window above. This prevents the user from making mistakes and stay always focused on the proper channel.
The panel shows the following control tools:
Type of EQ
click on the button to change the EQ from parametric to graphic and viceversa.
Note: during the switch from parametric to graphic EQ the software shows a message warning the user that some changes to the poles are required for the conversion. The user can choose to accept and proceed, or abort the switch.
Note: for each individual output channel it is possible to change the EQ type, without affecting any other channels.
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).
.
Help
opens the quick guide.
5.7.1 PARAMETRIC EQ
15-band Output Equalizer for each output channel.
This equalizer is Parametric or Graphic 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.
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:
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-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;
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°.
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.
5.7.2 GRAPHIC EQ
The graphic EQ has 15 bands. For each band, by moving the corresponding virtual slider the user can change the gain ±12 dB.
When a band is selected, the corresponding point on the graph will be highlighted.
5.7.3 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.
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).
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.
Click on the right arrow to open the scale limits settings.
Note: 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.
Note: 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.
5.9 AUDIO MONITOR
This tool shows the real-time electrical analysis of input and output signals in the main window. Pressing the button 
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, and assigned a preferred Source. With the exception of Memory preset 1, any preset can be disabled, to prevent accidental selection.
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.
OR
◼︎ Copy Memory preset #1 to any active presets without unique configuration settings.
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
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 EQ
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)
Psycho-acoustic bands
displays subjective descriptions of the sound frequencies.
EQ type
select the EQ type between graphic and parametric.
Enable/disable EQ bypass
temporally enable/disable the EQ bypass.
EQ Reset
reset the EQ to default values.
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: 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:enabling one of the Control triggers for this action (see sect 6.5).