Focal ASTRAL 16 Manuel D'utilisation page 13

ASTRAL 16
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Multi-way Loudspeaker Setup
During the initial Theater Definition setup, you
have the option of defining the front LCR speakers
as multi-way. Doing so will assign 2 or 3 output
channels to each speaker instead of 1. In this
configuration, more than 1 amplifier channel will be
used per loudspeaker, and Astral 16 will perform
the crossover function for each loudspeaker.
All settings in the Bass Management section
detailed in "Individual Channel Adjustments" and
"Expert Bass Management" also apply and will not
be covered again here. This section only describes
the differences notable for multi-way loudspeaker
configuration.
1. Signal
Note that in this example (Left Front is a 3-way
active loudspeaker), Each of the first 3 channels
receives the same Left Front signal.
2. Channel Name
By default, the channel names are named by the
signal they receive and proceeded by a sequential
number. For clarity, you may wish to rename these
according to the signal they reproduce e.g. Left
Front High, Left Front Mid, Left Front Low.
3. Multi-way Management
Use this section to filter the signal for each section.
• Section: Choose whether each channel
reproduces Full Range, Low Pass Filtered,
Middle (band pass), or High Pass Filtered audio.
Two-way speakers will not have Middle option.
• Crossover Frequency: When the section is
chosen as anything other than Full Range, set
the crossover frequency for the Low and High
Pass filters for each section.
Slope: For each filter, select a slope. Options
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are Butterworth 6dB / oct, Butterworth 12dB /
oct, Butterworth 18dB / oct, Linkwitz Riley 12dB
/ oct, and Linkwitz Riley 24dB oct, Butterworth
48dB / oct, Linkwitz Riley 48dB / oct.
4. Delay
Set the delay of each section. For active multi-
way loudspeakers, it may be helpful to do this
in milliseconds and measure time-of-arrival
differences at the crossover point when using LR
or BT6 filters to time align each section of a multi-
way loudspeaker.
5. Level
Active multi-way loudspeakers almost certainly
have different sensitivities per module. Set the
relative level of each here. When possible, use
0 as the maximum figure and attenuate other
channels to match the loudest channel. You can
also set global makeup gain for the entire theater
as described in "20. Level".
6. Channel EQ
For each channel, you can adjust EQ by selecting
the Wheel. EQ can be bypassed to compare with
and without equalization selecting On or Off.
Channel EQ
Each channel can have up to 20 filters cells
for equalization, including additional crossover
capabilities.
1. EQ Bypass
When developing a custom set of EQ per channel,
it is sometimes helpful to bypass the entire group
of EQ to check your progress against the starting
point.
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2. Graphical UI
The EQs defined are visualised in a graphical
window. Individual and combined EQ curves are
shown, providing an instant understanding of EQ
impact on the correction curve.
3. Create EQ
To design EQ curves for any channel, you need to add
EQ definition line using the Create EQ button (3).
4. Filter Shape
Each filter must begin with a variation of one of
5 types.
• Low Pass: Continuously declining output above
a cutoff frequency at a defined rate.
High Pass: Continuously declining output
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below a cutoff frequency at a defined rate.
• Bell: Band pass or cut filter with a defined
center frequency, boost or cut amount, and Q.
Low Shelf: Boost or cut frequencies below a
•
cutoff frequency by a fixed amount.
• High Shelf: Boost or cut frequencies above a
cutoff frequency by a fixed amount.
For LPF, HPF, and Bell filters, choose Butterworth
12dB/oct, Butterworth 12dB/oct inverse, Linkwitz
Riley 12dB/oct, Linkwitz Riley 12dB/oct inverse,
Butterworth 24dB/oct, or Linkwitz Riley 24dB/oct,
Butterworth 48dB/oct, or Linkwitz Riley 48dB/oct.
5. Delete
Unused EQ line can be removed using the Bin
button.
6. Status
In the course of designing your filter, you may
wish to measure or listen to progress compared
to the absence of that filter. Click Active "No" to
temporarily omit that filter from the aggregate
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curve. Click "Yes" to activate it back. You can also
decide here whether it is shown in the visualization
curve by checking the Graph item.
7. Quality Factor / Bandwidth
Bell filters require that you specify a Q. High Q
affects a narrow bandwidth, and low Q affects
a wide bandwidth. You can enter this number
directly in the text box or increment/decrement by
the amount chosen in the header row using the +/-
buttons to the right. Or, click a fractional or multiple
octave button to automatically calculate Q.
8. Gain
Bell and shelving filters require that you set the
amount of boost or cut. You can enter this number
directly in the text box or increment/decrement by
the amount chosen in the header row using the +/-
buttons to the right.
9. Frequency
Each filter requires that a center or cutoff
frequency be specified. You can enter this number
directly in the text box or increment/decrement by
the amount chosen in the header row using the +/-
buttons to the right.
10. Channel Select
Select the desired channel to equalize here.
11. Copy to Channel
You may wish to duplicate your filter set to another
channel without manually rebuilding it for each
identical channel. Select a channel to copy the
current filters to and click COPY.
Note that after making any changes, you must
press the SAVE button near the top right of the
screen or you will loose your changes.
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