Air Series Placement & Calibration PDF

Air Series - Placement & Calibration
© Copyright TC Group A/S, 2013. Any copying, quotation and re-use prohibited without permission of the TC Group and attribution to the author.
Placement & Calibration Test files for the Air Series
Track 37:
Track 38:
Track 39: Full performance from your speakers is assured only if
the speakers are correctly placed and calibrated. This
Test-CD is for testing these conditions and specifically
for the Dynaudio Air speaker systems.
During the sweeps you will hear short “beebs” telling
when the signal passes one of the ISO center frequencies. There are two beebs every time the frequency
passes a whole octave center frequency and one beep
every time the in-between 1/3-octave center frequencies
are passed. Play all the tracks using only one speaker
at a time.
If you are interested in more information on the Dynaudio
Air speakers or if you need more detailed information on
placing speakers plus additional background information, please feel free to download the full manual from
the www.dynaudioacoustics.com website.
Phase Checking
First procedure to be carried out is phase checking.
A number of signals both for two-channel stereo and for
multi channel reproduction are provided with the CD.
Two channel stereo:
Use tracks 45 to 49 on CD. 1 L/R signals are presented
in phase and subsequently out of phase.
Multichannel:
Use the tracks 45 to 64 on CD 2 which contain DTS encoded signals pair-wise comparable:
L/R, L/C, L/LS, R/RS.
Checking by ear when listening to the signals:
In phase:
You will hear more bass and the sound coming from a
fixed point between the speakers.
Out of phase:
You will hear the sound image lose bass, the sound image is diffuse, and the directional information is blurred.
NB: If you already have a phase checking measurement
system that can be used as well.
50 Hz –
40 Hz –
32 Hz –
20 Hz
20 Hz
20 Hz
Equalizing
The AIR system offers a two-band shelving type equalizer. This can be used individually on each speaker, and it
is implemented for a fine adjustment of the tonal balance.
Range: ±6 dB
Adjustment step: 0.5 dB
Band I: 100 Hz - 1 kHz
Band II:1 kHz - 5 kHz
Filter type: Shelving
You should be very careful using this tool if you are doing
the adjustment by ear. In a room with good acoustics,
equalizing should not be necessary at all.
As a test signal you can use full bandwidth pink noise
(track 2 or 13) on the test-CD.
In a room that you feel heavily over damped at higher
frequencies you may wish to ad some level in the high
end in order to get the right balance. Do it with care then.
In a highly reflective room you may wish to attenuate the
high frequencies. If you have made a good job placing
the speaker in a proper position you should not touch the
low frequency band.
Additional equalizing on Air speakers can be done via
the optional Installer’s Software.
Evaluation
Checking the Placing
When checking the placement of the speakers you first
of all have to focus on the low frequencies. So the signals
to be used are the low frequency sweeps that you find on
the CD from tracks 31 to 39.
Low-frequency Sweeps
The tracks 31 to 39 contain the following sweep sequences.
Track 31:
200 Hz –
20 Hz
Track 32:
160 Hz –
20 Hz
Track 33:
125 Hz –
20 Hz
Track 34:
100 Hz –
20 Hz
Track 35:
80 Hz –
20 Hz
Track 36:
63 Hz –
20 Hz
Hear a smooth and even signal throughout all frequency
sweeps (bearing in mind that the frequency response of
the ear is not flat).
If you have a sound level meter this should be set to
“LIN” (no frequency weighting). If the meter does not
have a LIN position you can use the C-weighting, though
the response is attenuated approximately 3 dB at 31.5
Hz and approximately 6 dB at 20 Hz.
In the background reading in the Air manual you can find
instructions on how alternatively to use a studio microphone if you do not have a sound level meter.
If OK continue to next chapter: Calibrating the speaker setup. If not OK you must find new positions for the
speakers.
Calibration Procedure
The calibration has to be made to ensure that all speakers produce the same sound pressure level in the listening position when fed with the same signal. The level of
the input signal can be locked to a specific sound pressure produced by the speakers.
Inter-channel calibration In the main menu:
• Select Setup menu
• Then select Calibrate speaker
• Select speaker Master L front
Now you can read the settings of this speaker.
• Set the Calib to 0.0 dB
• Start the CD and play track 12 or 23
(two channel stereo)
The tracks contain 500 Hz – 2 kHz filtered Pink Noise.
Track 38:
Track 39:
40 Hz –
32 Hz –
20 Hz
20 Hz
During the sweeps you will hear short beep telling when
the signal passes one of the ISO center frequencies.
There are two beeps every time the frequency passes
a whole octave center frequency and one beep every
time the in-between 1/3-octave center frequencies are
passed.
Play all the tracks using only the subwoofer.
Calibrating the Subwoofer
Set Bass Management on and set the volume to a reasonable level (first item in main menu) ex -30 dB.
Now: The sound pressure level is measured or registered
by ear.
Continue to the next channel. Using the Calib adjust to
the same level as the first speaker. If using a multi channel set up continue to the next speakers.
Select Bass Management in the main menu. If no other preferences for a crossover frequency, select 80 Hz.
If measurements or listening to the main speakers have
indicated uneven level distribution or uneven frequency
response at frequencies above 80 Hz, a higher crossover frequency should be selected.
Acoustic level calibration
Checking the cross-point
In some parts of the audio industry the monitoring system has to be related to absolute acoustic levels. On the
CD, the tracks mentioned above are recorded at –20
dBFS*. This level correspond to different acoustic levels
depending on the kind of business you are in:
In order to confirm the selected crossover frequency, the
CD is used. To be sure to listen to one speaker channel
at a time one of the main channels are selected in the
Setup menu/Calibrate speaker menu. For a start Master
Left can be selected.
Playback the CD track containing the low frequency
sweeps (tracks 31 to 42). Listen to the response or perform sound level measurement if you have a meter connected.
If you are in the possession of a spectrum analyzer you
can instead play the CD-tracks containing full bandwidth
pink noise.
Any uneven frequency response across the crossover
frequency should be avoided.
You can change the level of the subwoofer via the Calibrate Speaker menu (see page 8)
You may go back to the setting of the crossover frequency in the bass management setup and select another
frequency if appropriate.
After doing the adjustment on one channel, the other
channels should be monitored one by on and finally all
channels at one time. Now your system is calibrated.
Film VideoMusic
83 dB(C)* 78 dB(C)* 78-93 dB(C)*
• Select the first speaker (L).
• Play track 12 or 23 and “solo out” this speaker
• Set Calib to 0.0 dB.
• Adjust the volume until the desired C-weighted level is
obtained on a sound level meter in the listening position.
• Go on to the next speaker
• Adjust Calib till the same C-weighted level is obtained
from this speaker.
• Continue the procedure until all speakers are
calibrated.
• Exit calibration.
Placing the Subwoofer
Low frequency sweeps
The tracks 31 to 39 contains the following sweep sequences
Track 31:
Track 32:
Track 33:
Track 34:
Track 35:
Track 36:
Track 37:
200 Hz –
160 Hz –
125 Hz –
100 Hz –
80 Hz –
63 Hz –
50 Hz –
20 Hz
20 Hz
20 Hz
20 Hz
20 Hz
20 Hz
20 Hz
Bass Management
Bass management (sometimes called bass redirection)
is a very important feature - and it is in general an absolute necessity if you want to make a 5-channel set-up in
a small room! There are several reasons for this.
The bass management system is designed to subtract
the bass contents of all main channels and reproduce
this by the use of a subwoofer. The AIR-series provides a
number of possible.
* Level definitions
The level readings given in the CD track tables are
based on the direct mathematical definition of RootMean-Square, converted to dB:
By this definition, a digital signal with clipping at +/- 1.0
can never exceed 0 dBFS RMS. However, the AES17
standard uses a full-scale sine wave as the definition of
its 0 dBFS point. This adds 3.01 dB to the mathematical
value as defined above, so that a full-scale square wave
will read +3.01 dBFS. Therefore, please add 3.01 dB to
the table readings for AES17 compatibility. We chose not
to do so for you, lest you’d think the CD contents had
changed since the last revision. It has not.
Three other parameters to consider in relation to the subwoofer:
LFE Low Pass Filter
Range: On/Off (default off)
It is generally advisable to feed only effects to the LFE
channel as opposed to combining the LFE signal with
musical content extracted from the main speakers. However, as this is not necessarily the case with the material
you are monitoring, the LFE Low Pass Filter (Brickwall
Limiter) attenuating frequencies above 120Hz, can be
used to examine how the material will survive the band
limiting in some encoder-decoder systems .
Polarity
cross-over frequencies that can be selected by the user.
Range: 0-180º
If the Subwoofer is correctly placed, setting the Phase
Reverse parameter at 180º should result in a full Phase
cancellation at the set Cross -over frequency. If this is not
the case - the Delay parameter should be adjusted.
Checking summing phase cancellation
Delay
In a basic 2-channel set-up or 5-channel set-up (like
the ITU-775) a sub-woofer is not specified and is not required. But making audio production to be played back
on consumer equipment, one has to ensure that the mix
will sound right in this situation. Many consumer setups
provide a subwoofer. Hence it is very important to check
what the summing of the bass is like. If the program material basically is out of phase, the bass will be cancelled
when summed electrically. But this is not the case if the
bass signals are reproduced by the main speakers and
summed acoustically. A dramatic difference may exist!
Range: 0-1800mm
If you via the “phase-reverse test” described above
found that the sub is not correctly placed you should use
the Delay parameter to compensate.
We apologize for any confusion caused by this discrepancy.
Controlling standing waves
It can be very difficult to get two loudspeakers in the right
position in order to prevent the excitation of the standing waves. But placing five loudspeakers are even more
difficult! Each loudspeaker should play under the same
conditions as the others but that is seldom possible.
Three front speakers can normally be placed away from
disturbing boundaries to reduce the excitation of the
standing waves. But in small rooms the rear speakers
very often are placed in a corner or on a wall. Having the
full frequency range reproduced in a loudspeaker like
that, there may occur serious problems which result in a
poor low frequency sound distribution in the room.
So this is another reason for using bass management.
Simply: Only one loudspeaker - the subwoofer - has to
be placed in a safe position. The cross over frequency
can be selected to a value just above the problematic
frequency range.
Multichannel Part DTS Encoded
Track Index Name
Level*
Channels
dBFS RMS
Correlation
0/1
On time
sec
Off time
sec
N repeats
sec
Duration
sec
Broadband noise
1 Channel ID (L,C,R,Rs,Ls,LFE)
-20
all
N.A.
12
0
1
12
2 Uncorrelated Pink Noise
-20
all
0
20
0
1
20
3 Ditto HP 32 Hz
-20.4309
all
0
20
0
1
20
4 Ditto HP 40 Hz
-20.5809
all
0
20
0
1
20
5 Ditto HP 50 Hz
-20.7363
all
0
20
0
1
20
6 Ditto HP 63 Hz
-20.903
all
0
20
0
1
20
7 Ditto HP 80 Hz
-21.0808
all
0
20
0
1
20
8 Ditto HP 100 Hz
-21.2542
all
0
20
0
1
20
9 Ditto HP 125 Hz
-21.4363
all
0
20
0
1
20
10 Ditto HP 160 Hz
-21.6468
all
0
20
0
1
20
11 Ditto HP 200 Hz
-21.8452
all
0
20
0
1
20
12 Ditto BP 500/2000 Hz
-20
all
0
20
0
1
20
13 Correlated Pink Noise
-20
all
1
20
0
1
20
14 Ditto HP 32 Hz
-20.4422
all
1
20
0
1
20
15 Ditto HP 40 Hz
-20.5886
all
1
20
0
1
20
16 Ditto HP 50 Hz
-20.7408
all
1
20
0
1
20
17 Ditto HP 63 Hz
-20.9075
all
1
20
0
1
20
18 Ditto HP 80 Hz
-21.0868
all
1
20
0
1
20
19 Ditto HP 100 Hz
-21.258
all
1
20
0
1
20
20 Ditto HP 125 Hz
-21.4384
all
1
20
0
1
20
21 Ditto HP 160 Hz
-21.6494
all
1
20
0
1
20
22 Ditto HP 200 Hz
-21.85
all
1
20
0
1
20
23 Ditto BP 500/2000 Hz
-20
all
1
20
0
1
20
24 Pulsed correlated P.N.
-12
all
1
2
5
5
35
25 Pulsed uncorrelated P.N.
-12
all
0
2
5
5
35
26 Pulsed correlated P.N. 50-20000 Hz
-12
all
1
0.02
0.98
10
10
27 Pulsed uncorrelated P.N. 50-20000 Hz
-12
all
0
0.02
0.98
10
10
28 Pulsed correlated P.N. 20-20000 Hz
-12
all
1
0.05
0.95
10
10
29 Pulsed uncorrelated P.N. 20-20000 Hz
-12
all
0
0.05
0.95
10
10
Sweeps
30 Sweep 20 Hz - 20 kHz
-20
all
1
31 Sweep 200-20 Hz *
-12
all
1
32 Sweep 160-20 Hz *
-12
all
1
33 Sweep 125-20 Hz *
-12
all
1
34 Sweep 100-20 Hz *
-12
all
1
35 Sweep 80-20 Hz *
-12
all
1
36 Sweep 63-20 Hz *
-12
all
1
37 Sweep 50-20 Hz *
-12
all
1
38 Sweep 40-20 Hz *
-12
all
1
39 Sweep 32-20 Hz *
-12
all
1
40 MultiSweep 50-125 Hz *
-12
all
1
41 MultiSweep 63-160 Hz *
-12
all
1
42 MultiSweep 80-200 Hz *
-12
all
1
43 1/3 oct pink noise sweep 20 Hz - 20 kHz -20
all
0
44 1/3 oct pink noise sweep 20 Hz - 20 kHz -20
all
1
Phase Check
50
20
18
16
14
12
10
8
6
4
13.3
13.3
13.3
50
50
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
4
4
4
1
1
50
20
18
16
14
12
10
8
6
4
53.2
53.2
53.2
50
50
45 Pink noise In / Out of / In phase
46 Pink noise In / Out of / In phase
47 Pink noise In / Out of / In phase
48 Pink noise In / Out of / In phase
49 Ditto, bandlimited 20-200 Hz
50“
51“
52“
53 Ditto, bandlimited 200-2000 Hz
54“
55“
56“
57 Ditto, bandlimited 2-5 kHz
58“
59“
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
L/R
L/C
L/LS
R/RS
L/R
L/C
L/LS
R/RS
L/R
L/C
L/LS
R/RS
L/R
L/C
L/LS
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
Track Index Name
Level*
Channels
dBFS RMS
Correlation
0/1
On time
sec
Off time
sec
N repeats
sec
Duration
sec
60“
61 Ditto, bandlimited 5-22 kHz
62“
63“
64“
-20
-20
-20
-20
-20
n.a.
n.a.
n.a.
n.a.
n.a.
15
15
15
15
15
0
0
0
0
0
1
1
1
1
1
15
15
15
15
15
R/RS
L/R
L/C
L/LS
R/RS
Power bursts/sweeps (room reverb, rattle/buzz)
65
1 1/1 oct Pink Noise 8 kHz
-12
all
0
2
2
1
4
2 1/1 oct Pink Noise 4 kHz
-12
all
0
2
2
1
4
3 1/1 oct Pink Noise 2 kHz
-12
all
0
2
2
1
4
4 1/1 oct Pink Noise 1 kHz
-12
all
0
2
2
1
4
5 1/1 oct Pink Noise 500 Hz
-12
all
0
2
2
1
4
6 1/1 oct Pink Noise 250 Hz
-12
all
0
2
2
1
4
7 1/1 oct Pink Noise 125 Hz
-12
all
0
2
2
1
4
8 1/1 oct Pink Noise 63 Hz
-12
all
0
2
2
1
4
66
1 1/3 oct Pink Noise 16 kHz
-12
all
0
2
2
1
2 1/3 oct Pink Noise 12.5 kHz
-12
all
0
2
2
1
3 1/3 oct Pink Noise 10 kHz
-12
all
0
2
2
1
4 1/3 oct Pink Noise 8 kHz
-12
all
0
2
2
1
5 1/3 oct Pink Noise 6.3 kHz
-12
all
0
2
2
1
6 1/3 oct Pink Noise 5 kHz
-12
all
0
2
2
1
7 1/3 oct Pink Noise 4 kHz
-12
all
0
2
2
1
8 1/3 oct Pink Noise 3.15 kHz
-12
all
0
2
2
1
9 1/3 oct Pink Noise 2.5 kHz
-12
all
0
2
2
1
10 1/3 oct Pink Noise 2 kHz
-12
all
0
2
2
1
11 1/3 oct Pink Noise 1.6 kHz
-12
all
0
2
2
1
12 1/3 oct Pink Noise 1.25 kHz
-12
all
0
2
2
1
13 1/3 oct Pink Noise 1 kHz
-12
all
0
2
2
1
14 1/3 oct Pink Noise 800 Hz
-12
all
0
2
2
1
15 1/3 oct Pink Noise 630 Hz
-12
all
0
2
2
1
16 1/3 oct Pink Noise 500 Hz
-12
all
0
2
2
1
17 1/3 oct Pink Noise 400 Hz
-12
all
0
2
2
1
18 1/3 oct Pink Noise 315Hz
-12
all
0
2
2
1
19 1/3 oct Pink Noise 250 Hz
-12
all
0
2
2
1
20 1/3 oct Pink Noise 200 Hz
-12
all
0
2
2
1
21 1/3 oct Pink Noise 160 Hz
-12
all
0
2
2
1
22 1/3 oct Pink Noise 125Hz
-12
all
0
2
2
1
23 1/3 oct Pink Noise 100 Hz
-12
all
0
2
2
1
24 1/3 oct Pink Noise 80 Hz
-12
all
0
2
2
1
25 1/3 oct Pink Noise 63 Hz
-12
all
0
2
2
1
26 1/3 oct Pink Noise 50 Hz
-12
all
0
2
2
1
27 1/3 oct Pink Noise 40 Hz
-12
all
0
2
2
1
28 1/3 oct Pink Noise 31.5Hz
-12
all
0
2
2
1
29 1/3 oct Pink Noise 25 Hz
-12
all
0
2
2
1
30 1/3 oct Pink Noise 20 Hz
-12
all
0
2
2
1
67 + Pink Gaussian Pulses, BW 25 Hz
FS
all
1
0.1
0.9
10
68 +Pink Gaussian Pulses, BW 50 Hz
FS
all
1
0.05
0.95
10
69 +Pink Gaussian Pulses, BW 100 Hz
FS
all
1
0.025
0.975
10
70 +Pink Gaussian Pulses, BW 200 Hz
FS
all
1
0.0125
0.9875
10
71 +Pink Gaussian Pulses, BW 400 Hz
FS
all
1
0.00675
0.99325
10
72 -Pink Gaussian Pulses, BW 25 Hz
FS
all
1
0.1
0.9
10
73 -Pink Gaussian Pulses, BW 50 Hz
FS
all
1
0.05
0.95
10
74 -Pink Gaussian Pulses, BW 100 Hz
FS
all
1
0.025
0.975
10
75 -Pink Gaussian Pulses, BW 200 Hz
FS
all
1
0.0125
0.9875
10
76 -Pink Gaussian Pulses, BW 400 Hz
FS
all
1
0.00675
0.99325
10
77 PowerSweep 315-20 Hz *
-4
all
1
18.3
0
1
78 Warbled Power Sweep 315-20 Hz *
-4
all
1
18.3
0
1
79 Pink Noise 1/3 Oct sweep 315-20 Hz *
-12
all
1
18.3
0
1
80 Tone Bursts 315 Hz - 20 Hz
-3 (=FS)
all
1
1
4
13
81 Tone Bursts 315 Hz - 20 kHz
-3 (=FS)
all
1
0.5
2.5
19
82 Abs. Phase Checker
FS
all
1
0.2
0
300
83-94 Like 31-42 but with LFE
Total net duration [minutes]
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
10
10
10
10
10
10
10
10
10
10
18.3
18.3
18.3
65
57
60
267.6
33.935
Stereo Part
Track Index Name
Level*
Channels
dBFS RMS
Correlation
0/1
On time
sec
Off time
sec
N repeats
sec
Duration
sec
Broadband noise
1 Channel ID (L,R)
-20
all
N.A.
2 Uncorrelated Pink Noise
-20
all
0
3 Ditto HP 32 Hz
-20.4273
all
0
4 Ditto HP 40 Hz
-20.5742
all
0
5 Ditto HP 50 Hz
-20.7293
all
0
6 Ditto HP 63 Hz
-20.8982
all
0
7 Ditto HP 80 Hz
-21.0787
all
0
8 Ditto HP 100 Hz
-21.2511
all
0
9 Ditto HP 125 Hz
-21.4325
all
0
10 Ditto HP 160 Hz
-21.645
all
0
11 Ditto HP 200 Hz
-21.847
all
0
12 Ditto BP 500/2000 Hz
-20
all
0
13 Correlated Pink Noise
-20
all
1
14 Ditto HP 32 Hz
-20.4422
all
1
15 Ditto HP 40 Hz
-20.5886
all
1
16 Ditto HP 50 Hz
-20.7408
all
1
17 Ditto HP 63 Hz
-20.9075
all
1
18 Ditto HP 80 Hz
-21.0868
all
1
19 Ditto HP 100 Hz
-21.258
all
1
20 Ditto HP 125 Hz
-21.4384
all
1
21 Ditto HP 160 Hz
-21.6494
all
1
22 Ditto HP 200 Hz
-21.85
all
1
23 Ditto BP 500/2000 Hz
-20
all
1
24 Pulsed correlated P.N.
-12
all
1
25 Pulsed uncorrelated P.N.
-12
all
0
26 Pulsed correlated P.N. 50-20000 Hz
-12
all
1
27 Pulsed uncorrelated P.N. 50-20000 Hz
-12
all
0
28 Pulsed correlated P.N. 20-20000 Hz
-12
all
1
29 Pulsed uncorrelated P.N. 20-20000 Hz
-12
all
0
Sweeps
12
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
2
2
0.02
0.02
0.05
0.05
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
5
0.98
0.98
0.95
0.95
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
5
5
10
10
10
10
12
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
35
35
10
10
10
10
30 Sweep 20 Hz - 20 kHz
-20
all
1
31 Sweep 200-20 Hz *
-12
all
1
32 Sweep 160-20 Hz *
-12
all
1
33 Sweep 125-20 Hz *
-12
all
1
34 Sweep 100-20 Hz *
-12
all
1
35 Sweep 80-20 Hz *
-12
all
1
36 Sweep 63-20 Hz *
-12
all
1
37 Sweep 50-20 Hz *
-12
all
1
38 Sweep 40-20 Hz *
-12
all
1
39 Sweep 32-20 Hz *
-12
all
1
40 MultiSweep 50-125 Hz *
-12
all
1
41 MultiSweep 63-160 Hz *
-12
all
1
42 MultiSweep 80-200 Hz *
-12
all
1
43 1/3 oct pink noise sweep 20 Hz - 20 kHz -20
all
0
44 1/3 oct pink noise sweep 20 Hz - 20 kHz -20
all
1
Phase Check
50
20
18
16
14
12
10
8
6
4
13.3
13.3
13.3
50
50
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
4
4
4
1
1
50
20
18
16
14
12
10
8
6
4
53.2
53.2
53.2
50
50
45
46
47
48
49
15
15
15
15
15
0
0
0
0
0
1
1
1
1
1
15
15
15
15
15
Pink noise In / Out of / In phase
Ditto, bandlimited 20-200 Hz
Ditto, bandlimited 200-2000 Hz
Ditto, bandlimited 2-5 kHz
Ditto, bandlimited 5-22 kHz
-20
-20
-20
-20
-20
L/R
L/R
L/R
L/R
L/R
n.a.
n.a.
n.a.
n.a.
n.a.
Stereo Part
Track Index Name
Level*
Channels
dBFS RMS
Correlation
0/1
On time
sec
Off time
sec
N repeats
sec
Duration
sec
Broadband noise
1
2
3
4
5
6
7
8
51
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
1/1 oct Pink Noise 8 kHz
1/1 oct Pink Noise 4 kHz
1/1 oct Pink Noise 2 kHz
1/1 oct Pink Noise 1 kHz
1/1 oct Pink Noise 500 Hz
1/1 oct Pink Noise 250 Hz
1/1 oct Pink Noise 125 Hz
1/1 oct Pink Noise 63 Hz
-12
-12
-12
-12
-12
-12
-12
-12
all
all
all
all
all
all
all
all
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
1
1
1
1
1
1
1
1
4
4
4
4
4
4
4
4
1/3 oct Pink Noise 16 kHz
1/3 oct Pink Noise 12.5 kHz
1/3 oct Pink Noise 10 kHz
1/3 oct Pink Noise 8 kHz
1/3 oct Pink Noise 6.3 kHz
1/3 oct Pink Noise 5 kHz
1/3 oct Pink Noise 4 kHz
1/3 oct Pink Noise 3.15 kHz
1/3 oct Pink Noise 2.5 kHz
1/3 oct Pink Noise 2 kHz
1/3 oct Pink Noise 1.6 kHz
1/3 oct Pink Noise 1.25 kHz
1/3 oct Pink Noise 1 kHz
1/3 oct Pink Noise 800 Hz
1/3 oct Pink Noise 630 Hz
1/3 oct Pink Noise 500 Hz
1/3 oct Pink Noise 400 Hz
1/3 oct Pink Noise 315Hz
1/3 oct Pink Noise 250 Hz
1/3 oct Pink Noise 200 Hz
1/3 oct Pink Noise 160 Hz
1/3 oct Pink Noise 125Hz
1/3 oct Pink Noise 100 Hz
1/3 oct Pink Noise 80 Hz
1/3 oct Pink Noise 63 Hz
1/3 oct Pink Noise 50 Hz
1/3 oct Pink Noise 40 Hz
1/3 oct Pink Noise 31.5Hz
1/3 oct Pink Noise 25 Hz
1/3 oct Pink Noise 20 Hz
+Pink Gaussian Pulses, BW 25 Hz
+Pink Gaussian Pulses, BW 50 Hz
+Pink Gaussian Pulses, BW 100 Hz
+Pink Gaussian Pulses, BW 200 Hz
+Pink Gaussian Pulses, BW 400 Hz
-Pink Gaussian Pulses, BW 25 Hz
-Pink Gaussian Pulses, BW 50 Hz
-Pink Gaussian Pulses, BW 100 Hz
-Pink Gaussian Pulses, BW 200 Hz
-Pink Gaussian Pulses, BW 400 Hz
PowerSweep 315-20 Hz *
Warbled Power Sweep 315-20 Hz *
Pink Noise 1/3 Oct sweep 315-20 Hz *
Tone Bursts 315 Hz - 20 Hz
Tone Bursts 315 Hz - 20 kHz
Abs. Phase Checker
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
FS
FS
FS
FS
FS
FS
FS
FS
FS
FS
-4
-4
-12
-3 (=FS)
-3 (=FS)
FS
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
all
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
0.1
0.05
0.025
0.0125
0.00675
0.1
0.05
0.025
0.0125
0.00675
18.3
18.3
18.3
1
0.5
0.2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
0.9
0.95
0.975
0.9875
0.99325
0.9
0.95
0.975
0.9875
0.99325
0
0
0
4
2.5
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
10
10
10
10
10
10
10
10
10
10
1
1
1
13
19
300
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
10
10
10
10
10
10
10
10
10
10
18.3
18.3
18.3
65
57
60
Total net duration [minutes]
25.725