AurA8ip - Wheatstone
Aura8ip
Vorsis Embedded Processing Blade
Technical Manual
600 Industrial Drive, New Bern, N.C. 28562 ( tel 252-638-7000 / fax 252-637-1285 / [email protected] )
Aura8ip
Vorsis Embedded Processing Blade
Technical
Manual
Wheatstone Corporation
January 2012
Aura8ip Vorsis Embedded Processing Blade
©2012 Wheatstone Corporation
600 Industrial Drive
New Bern, North Carolina 28562
tel 252-638-7000 / fax 252-637-1285
Attention!
Aura8ip Blade
Important Safety Instructions
1. Read these instructions.
2.
3.
4.
5.
Keep these instructions.
Heed all warnings.
Follow all instructions.
This equipment must be installed and operated in a dry location free from dripping or
splashing liquids. No objects filled with liquid (such as beverage containers and the like)
shall be placed on or near the unit.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the manufacturer’s
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other ap‑
paratus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding‑type plug. A polarized plug
has two blades with one wider than the other. A grounding type plug has two blades and
a third grounding prong. The wide blade or the third prong are provided for your safety.
If the provided plug does not fit into your outlet, consult an electrician for replacement
of the obsolete outlet.
10.Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.
11.Only use attachments/accessories specified by the manufacturer.
12.Unplug this apparatus during lightning storms or when unused for long periods of time.
13.Refer all servicing to qualified service personnel. Servicing is required when the apparatus
has been damaged in any way, such as power‑supply cord or plug is damaged, liquid has
been spilled or objects have fallen into an apparatus, the apparatus has been exposed to
rain or moisture, does not operate normally, or has been dropped.
14.DISCONNECTING DEVICE FROM MAINS – Main power cord plug is the disconnect‑
ing device. The power plug of an installed unit must remain readily accessible/operable
at all times.
WARNING!
To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
( PRODUCT IDENTITY )
8D48
Oct 2012
Read Me!
Attention!
Aura8ip Blade
Consignes De Sécurité Importantes
1. Lire ces instructions.
2.
3.
4.
5.
Conserver ces instructions.
Observer tous les avertissements.
Suivre toutes les instructions.
Ce matériel doit être installé et utilisé dans un endroit sec à l'abri d'éclaboussures de ­liquides
ou de gouttes. Aucun objet rempli de liquides tel que breuvages ou autres, ne doit être
placé sur le dessus ou à côté de cet appareil.
6. Nettoyer uniquement avec un linge sec.
7. Ne pas bloquer les ouvertures de ventilation. Installer d'après les instructions du m
­ anufacturier.
8. Ne pas installer près de sources de chaleur tels que des radiateurs, registres de chaleur,
poêles ou autres appareils (incluant les amplificateurs) pouvant de la chaleur.
9. Ne pas contourner le dispositif de sécurité de la fiche polarisée ou de mise à la terre. Une
fiche polarisée a deux lames dont une plus large que l'autre. Une fiche de terre a deux
lames et une troisième broche de mise à la terre. La lame large ou la troisième broche est
fournie pour votre sécurité. Si la fiche fournie ne rentre pas dans votre prise, consultez un
électricien pour le remplacement de la prise obsolète.
10.Protéger le cordon d'alimentation en évitant qu'il ne soit piétiné ou écrasé notamment au
niveau des fiches et le point de sortie de l'appareil.
11.N'utiliser que les fixations et accessoires spécifiés par le fabricant.
12.Débrancher cet appareil pendant les orages ou lorsqu'il n'est pas utilisé pendant de longues
périodes de temps.
13.Confier toute réparation à un personnel qualifié. Une réparation est nécessaire lorsque
l'appareil a été endommagé de quelque façon que ce, soit tel que : le cordon d'alimentation
ou la fiche est endommagée, du liquide a été renversé ou des objets sont tombés dans
l'appareil ou celuici a été exposé à la pluie ou à l'humidité ou ne fonctionne pas ­normalement
ou s'il est tombé.
14.DÉBRANCHEMENT DE L'APPAREIL DU SECTEUR – Le cordon d'alimentation principal est le dispositif de déconnexion. Le cordon d'alimentation d'une unité installée doit
rester facilement accessible / utilisable à tout moment.
ATTENTION!
Pour réduire le risque d'incendie ou de choc électrique,
ne pas exposer cet appareil à la pluie ou à l'humidité.
( PRODUCT IDENTITY )
8D48
Oct 2012
Lisez-Moi!
CONTENTS
Aura8ip Technical Manual
Table of Contents
Chapter 1 - General Information
Introduction..................................................................................... 1-2
Preset Transitions........................................................................................................ 1-3
Aura8ip Audio Processing Overview............................................ 1-4
Installing the Aura8ip Blade.......................................................... 1-5
Energizing the Aura8ip Blade........................................................ 1-5
I/O Connections.............................................................................. 1-6
Cable Considerations.................................................................................................. 1-6
Connectors.................................................................................................................. 1-6
Chapter 2 - Aura8ip Pro GUI
Installing the Guru Software.......................................................... 2-2
Configuring the Aura8ip TCP/IP Address..................................... 2-2
Selecting the Processing Channel............................................... 2-4
Adjusting the Controls................................................................... 2-4
Input Level................................................................................................................... 2-4
Left/Right Channel Balance......................................................................................... 2-4
High Pass Filter........................................................................................................... 2-4
Output Level dBFS...................................................................................................... 2-5
Taking Presets................................................................................ 2-5
Guru’s Six Adjust Sound Controls............................................... 2-6
AGC Drive................................................................................................................... 2-6
Compression............................................................................................................... 2-6
Punch..........................................................................................................................2-7
Loudness..................................................................................................................... 2-7
Mid/High EQ................................................................................................................ 2-7
Low/Warm EQ............................................................................................................. 2-7
Why Six Controls and Not One?................................................... 2-7
How Do the Tweakers Work?........................................................ 2-7
What Causes a Guru Tweaker to Stop Before Reaching
0 or 10?............................................................................................ 2-8
Guru GUI Caveats........................................................................... 2-8
Understanding the Differences Between Factory, Legacy,
and Guru Presets........................................................................... 2-9
Additional Notes on Aura8ip and Network to GUI
Connectivity.................................................................................... 2-9
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CONTENTS
Chapter 3 - Aura8ip Guru® GUI
Selecting the Processor Instances............................................... 3-3
A Word About Our Controls.......................................................... 3-4
Input Controls................................................................................. 3-4
High Pass Filter (HPF)................................................................................................. 3-4
Stereo.....................................................................................................................3-5
Sum & Difference................................................................................................... 3-5
AGC and Compressor Controls - Part 1....................................... 3-5
AGC Backoff................................................................................................................ 3-5
Band Coupling............................................................................................................. 3-6
Gate Thresh, Gate Delay, and Gated Mode................................................................ 3-7
Number of Bands........................................................................................................ 3-7
Crossovers.................................................................................................................. 3-8
AGC and Compressor Controls - Part 2....................................... 3-9
Threshold.................................................................................................................... 3-9
AGC Attack/Release.................................................................................................... 3-9
Compressor Attack/Release....................................................................................... 3-10
Compressor Ratio...................................................................................................... 3-10
Gate Offset................................................................................................................. 3-11
Processing Band L+R and L-R Outputs..................................................................... 3-11
Makeup Gain.............................................................................................................. 3-12
Parametric EQ................................................................................ 3-13
A Word About Our Limiters.......................................................... 3-15
Multiband Limiter........................................................................... 3-15
Threshold .................................................................................................................. 3-16
Limiter Attack.............................................................................................................. 3-16
Limiter Release.......................................................................................................... 3-16
Output Trim................................................................................................................. 3-17
Multiband Limiter Options........................................................................................... 3-17
MB Lim Soft........................................................................................................... 3-17
Bass Enhance....................................................................................................... 3-17
Look Ahead Final Peak Limiter.................................................... 3-17
Final Lim Drive........................................................................................................... 3-17
Attack.........................................................................................................................3-17
Release...................................................................................................................... 3-17
Delayed Release Control........................................................................................... 3-18
Look Ahead Limiter Special Option Checkboxes....................................................... 3-18
Final Limiter........................................................................................................... 3-18
Delayed Release................................................................................................... 3-18
Look Ahead........................................................................................................... 3-18
Output Control............................................................................................................ 3-18
Metering Discussion..................................................................... 3-19
Input Metering............................................................................................................ 3-19
Gain Reduction Meters............................................................................................... 3-19
Multiband AGC/Compressor and Limiter............................................................... 3-19
Final Lookahead Limiter Metering......................................................................... 3-19
Normal Gain Reduction......................................................................................... 3-19
Output Metering.......................................................................................................... 3-20
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CONTENTS
Sidebar Region.............................................................................. 3-20
Preset.........................................................................................................................3-20
Locking Presets..................................................................................................... 3-21
Library........................................................................................................................3-22
Devices....................................................................................................................... 3-22
Quick Save................................................................................................................. 3-23
Title Bar Region............................................................................. 3-24
Status.........................................................................................................................3-24
Devices....................................................................................................................... 3-24
Presets.......................................................................................................................3-24
Accessing Menu Option................................................................ 3-25
File Menu Items.......................................................................................................... 3-25
About.....................................................................................................................3-25
Choose Skin.......................................................................................................... 3-25
Exit........................................................................................................................3-25
Hardware Menu Items................................................................................................ 3-25
Devices.................................................................................................................. 3-25
On-Line Mode........................................................................................................ 3-25
Login Password..................................................................................................... 3-25
Version.................................................................................................................. 3-25
Preset Menu Items..................................................................................................... 3-25
Take.......................................................................................................................3-25
Save......................................................................................................................3-25
Library................................................................................................................... 3-25
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G E N E R A L I N F O R M AT I O N
General Information
Chapter Contents
Introduction..................................................................................... 1-2
Preset Transitions........................................................................................................ 1-3
Aura8ip Audio Processing Overview............................................ 1-4
Installing the Aura8ip Blade.......................................................... 1-5
Energizing the Aura8ip Blade........................................................ 1-5
I/O Connections.............................................................................. 1-6
Cable Considerations.................................................................................................. 1-6
Connectors.................................................................................................................. 1-6
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GENERAL INFORMATION
General Information
Introduction
The Aura8ip is the newest member of the Wheatstone WheatNet‑IP Intelligent Net‑
work family of devices. It is really two devices in one package; a complete WheatNet‑IP
Blade with 8x8 stereo I/O and a Vorsis 8-channel multi-band audio processor.
WheatNet‑IP Blades are the Swiss Army knife of audio routing, with local audio
inputs and outputs, GPIO ports, built in router control, mixing, meters, monitoring, and
a host of the other functions. Blades can operate as stand alone devices or be linked
via gigabit Ethernet as part of an IP audio network.
As a member of the WheatNet‑IP Blade family, the Blade functionality of the Aura8ip
is described in detail in the Wheatnet‑IP Audio Over IP Network manual supplied with
the unit. In the Wheatnet‑IP Audio Over IP Network manual you’ll learn how to set up
the device ID and IP address, and learn how to use all of the Blade features built into it.
The Vorsis processing features of the Aura8ip are unique to this unit and deserve
their own documentation, which follows here. Use this document to learn all about
the processing capabilities the Aura8ip has and how to control them with the included
GUI application.
The Wheatstone Aura8ip “Vorsis Embedded” Processing Blade hosts eight discrete
multiband audio processors. Because Aura8ip may be operated in stand alone or as
part of a Wheatnet-IP system of any size, any available audio signal can be routed thru
the Aura8ip to apply easy to use audio processing before the audio reaches its final
destination.
The Aura8ip’s eight channels of multiband processing have the following features:
• Audio input and output audio via analog, digital, and Wheatnet-IP;*
• Selectable high pass filter which operates in the L/R or M/S domain;
• Phase rotator for smooth processing of live voice;
• Input channels may be phase reversed or channel swapped;
• Input channels may be operated in a mono mix down mode;
• Four band equalizer with shelving and parametric sections;
• Multiband AGC/Compressor with one, two, or three bands of processing per
channel;**
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G E N E R A L I N F O R M AT I O N
• Parametric EQ with adjustable crossover networks;
• Stereo enhancement;
• Multiband limiter with one, two, or three bands of limiting per channel;**
• Selectable Vorsis bass enhancement;
• Final peak limiter with selectable lookahead function;
• Full complement of factory processing presets;
• Storage in the hardware for up to 80 presets.
* 50/50% mix of analog and digital I/O plus WheatNet-IP on all channels.
** The number of limiter bands always follows the selected number of AGC/Com‑
pressor bands.
Aura8ip’s flexibility allows each processor to be operated in three bands, two bands,
or as a broadband (one band) processor.
Each of the Aura8ip’s processing blocks (AGC, Compressor, EQ, Limiters) may be
enabled or disabled as desired. Each of the eight processing instances shares a library
of up to 80 presets stored on the Aura8ip hardware. Several dozen “Factory” presets
supplied with the unit provide good starting points that have been tuned for a variety
of needs. Presets stored on any Aura8ip may be shared with any other Aura8ip on the
network.
Preset Transitions
As with all Vorsis audio processors, changing from one preset to another doesn’t
abruptly change the audio, nor are clicks and pops generated during those changes.
Instead, presets “segue” from one to another, causing a gradual change in sound as the
parameters are slewed from their old to their new settings over the course of two seconds.
Some prefer hearing radical, easy to identify changes when a preset is recalled.
However, this is usually the least desired behavior when presets change in actual onair use. Since that mode is the most important mode – it’s what an audience hears – we
designed preset changing to be as unobtrusive as possible for listeners.
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G E N E R A L I N F O R M AT I O N
Aura8ip Audio Processing Overview
The following block diagrams show the internal structure of the Aura8ip Process‑
ing Blade.
The first graphic shows how four of the eight processors are equipped with analog
I/O and four are equipped with digital I/O when run in stand alone mode, and all eight
are equipped with Wheatnet-IP audio inputs and outputs when run in networked mode.
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GENERAL INFORMATION
The second graphic shows the 3 Band, 2 Band, and Broadband processing signal paths.
Signal Flow in Broadband, Two-band, and Three-band modes
Note: EQ may be placed pre or post AGC/Compressor
Installing the Aura8ip Blade
Aura8ip is designed to be mounted in an industry standard 19" equipment rack,
and requires one rack unit (1.75 inches) of vertical space. The Aura8ip BLADE has a
depth of 13-1/4" behind the rack rails (including chassis connectors). An additional five
inches of space is required for wiring cables to pass through. The chassis has a width of
17‑3/8". Space needed in front of rack rails is 3/4". Ideally, four screws should be used
to mount the unit. If only two screws are being used they must be used in the bottom
holes in order to provide proper support.
Though Aura8ip does not add much heat load to the rack that it is installed in, good
engineering practice suggests that it should never be mounted directly above a large
source of heat such as a power supply or RF amplifier. Strong electromagnetic fields
should also be avoided.
Energizing the Aura8ip Blade
Once it has been installed in the rack, the Aura8ip BLADE may be energized by
connecting the factory supplied power cord to a source of AC power. For long term
reliability, there is no power switch on the Aura8ip (rarely used switches are notoriously
unreliable). When the Aura8ip first powers up, it will enter “Stand alone” mode. This
is the mode that would be used if the BLADE were not part of a Wheatnet-IP system.
Aura8ip / Jan 2012
WheatNet-IP
Aura8ip
/ Mar/ 2013
Aug 2012
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GENERAL INFORMATION
I/O Connections
All input, output, Ethernet, control and power connections are made on the rear
of the Aura8ip Blade.
The audio I/O connections are via DB-25 or RJ-45 connectors on the rear of the
unit, and the two types of connectors are electrically in parallel.
There are two RJ-45 connectors associated with networking, one Gigabit port
and one 100BaseT port. Only the Gigabit port is currently supported.
Refer to the Chapter 1 of the Wheatnet‑IP Audio Over IP Network manual for
detailed wiring information.
Cable Considerations
The AES Digital input and output connections should be made with high quality
digital audio cable. Typical AES/EBU cable has low capacitance per foot (pF/ft) and
a nominal impedance of 110 ohms.
Avoid using run-of-the-mill analog audio cable for AES digital signals because
this type of cable may have an impedance of 60 ohms or less and can cause problems
in medium length cable runs and severe signal recovery issues on long runs. Like in
the RF world, using the proper impedance cable is critical to obtaining the best and
most reliable performance. Check with your favorite cable manufacturer to ensure
that the cable you have chosen will work for you.
Connectors
All connections other than AC power are made thru rear panel DB-25 connectors
and/or RJ-45 connectors. The DB-25 crimp style connector pins will accept wire
sizes 22 through 28 AWG. For the RJ-45 audio connections Wheatstone recommends
using XLR to RJ-45 adapters at the source (to the Blade) or at the destination (from
the Blade) and to provide a proper strain relief for those adapters. Obviously using
RJ-45 to XLR adapters can also be done on the back of the Blade, too, but doing it
this way might make things a bit crowded.
When using a stereo XLR to RJ-45 adapter for AES digital signals only the XLR
connector for channel one is used.
The Aura8ip will accommodate digital input signals with a wide range of sample
rates. Those signals will be sample rate converted to the Aura8ip internal sample
rate of 44.1 or 48kHz, which is set for the WheatNet‑IP system, or for a stand alone
Aura8ip, using the Navigator GUI.
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Aura8ip GURU GUI
Aura8ip Guru® GUI
Chapter Contents
Installing the Guru Software.......................................................... 2-2
Configuring the Aura8ip TCP/IP Address..................................... 2-2
Selecting the Processing Channel............................................... 2-4
Adjusting the Controls................................................................... 2-4
Input Level................................................................................................................... 2-4
Left/Right Channel Balance......................................................................................... 2-4
High Pass Filter........................................................................................................... 2-4
Output Level dBFS...................................................................................................... 2-5
Taking Presets................................................................................ 2-5
Guru’s Six Adjust Sound Controls............................................... 2-6
AGC Drive................................................................................................................... 2-6
Compression............................................................................................................... 2-6
Punch..........................................................................................................................2-7
Loudness..................................................................................................................... 2-7
Mid/High EQ................................................................................................................ 2-7
Low/Warm EQ............................................................................................................. 2-7
Why Six Controls and Not One?................................................... 2-7
How Do the Tweakers Work?........................................................ 2-7
What Causes a Guru Tweaker to Stop Before Reaching
0 or 10?............................................................................................ 2-8
Guru GUI Caveats........................................................................... 2-8
Understanding the Differences Between Factory, Legacy,
and Guru Presets........................................................................... 2-9
Additional Notes on Aura8ip and Network to GUI
Connectivity.................................................................................... 2-9
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Aura8ip GURU GUI
Vorsis Aura8ip Guru® GUI
Supplied with every Aura8ip processor is our Vorsis Audio Processing Guru®
software (Guru GUI), which drastically simplifies processing adjustments and allows
the processor to be controlled from anywhere in the world. The Guru GUI distills
the Aura8ip’s 93 user controls per processing channel down to just six intuitive and
easy to use controls.
Guru GUI makes setting the sound of the processing quick and efficient and allows
the managing of processing presets. Finding the perfect sound has never been easier!
Presets created on one Aura8ip can be migrated to other Aura8ip units via the
built-in preset management utility.
Confidence metering along the bottom of the GUI provides visual feedback of all
eight channels of the input and output signals and their relative levels.
Installing the Guru Software
The Guru software is provided on a software CD shipped with the product and
once installed, grants easy access to Aura8ip’s vast sound processing capabilities.
Installing the software is easily done using the following procedure:
• Insert the Aura8ip software CD into a Windows computer;
• Click the Start button;
• Click the Run option;
• Click the Browse option;
• Browse My Computer to locate the CDROM device and double click it;
• When the contents of the CDROM drive appears, locate the Aura8ip_exe file
and double click it to start the GUI installation;
• Follow the on screen instructions to complete GUI installation.
Configuring the Aura8ip TCP/IP Address*
Once the GUI has been installed on the host PC it must be configured before it
can connect to and control the Aura8ip processor. Note also that as shipped, the factory default IP address of the Aura8ip is 192.168.87.101. This address can be viewed
and/or changed from the front panel if necessary, remembering that rebooting the
Blade will be necessary if the IP address and/or the Blade number are changed.
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Aura8ip GURU GUI
Next, start the Aura8ip GUI software and use the following procedure to configure
it to be able to connect and control the Aura8ip processor.
• On the right hand side of the GUI, click on the Devices button, then click the
Add... button; the above dialog will open.
• Insert a name for the Aura8ip. This is the name that will be displayed at the
top of the GUI to inform the user which processor he is currently connected to.
• Next enter the IP address of the Aura8ip, keeping in mind that if the address has
not been changed from the Factory Default, that IP address is 192.168.87.101.
• Click the OK button to close the dialog.
• Highlight the newly configured device and click the Select button.
If there is a network connection between the
GUI’s host PC and the Aura8ip processor, and the
PC is configured to be on the same network subnet
as the processor, the Online button at the top left
of the GUI may be clicked to connect to the processor. When the GUI is online to the processor
and controlling it, the green indicator inside the
button will be illuminated and the Status window
will display “Online.”
IP Address Note: Unless special routing has been configured by the IT department the controlling PC and the Aura8ip must be on the same network subnet. As
an example, if the Aura8ip has an IP address 192.168.87.1, then the PC’s IP address
must be configured to be between the addresses 192.168.87.1 and 192.168.87.254,
noting that the Aura8ip and the host PC cannot share the same IP address.
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Aura8ip GURU GUI
* NOTE: TCP port 55901 must be open in any switch or router configuration in
order to permit network traffic between Aura8ip and the controlling GUI.
Once the GUI is online with the processor the GUI’s controls become active and
may be used for adjusting levels, taking presets, and tweaking the sound of processing.
Selecting the Processing Channel
Across the top of the GUI are eight buttons representing the eight multiband
processors of the Aura8ip. The channel currently being viewed is shown by an illuminated green indicator on the left side of the button.
Adjusting the Controls
Input Level
To achieve the best sound and performance from any audio processor the correct
setting of the Input Levels is important. If levels are too low the processing settings
may not operate as they were designed. For instance, if a factory preset is in use
and the input levels are too low the multiband
AGC could stay in its gated mode when it
shouldn’t, reducing the effectiveness of the
processing. Conversely, if input levels are
too high, distortion can result on audio peaks.
Input levels are correct when the Input
meters are just nudging the -12dBFS Ref mark
on the Input meter scale (see left).
Setting up to operate with input levels
higher than -12dBFS increases the risk of
distortion. This is especially true if the levels
coming into the processor happen to increase
even further on other program material later on.
Operating with levels that are lower than
normal can run into different issues, particularly with the behavior of the AGC and
Compressor sections of processing.
Left/Right Channel Balance
This control is provided to trim the Left/Right channel balance by up to +/-12dB
should it be necessary.
High Pass Filter
A High Pass Filter is used to reduce or remove infrasonic (very low frequency)
signals from the audio that are not a part of the audio. Undesirable hum and rumble
Aura8ip / Jan 2012
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Aura8ip GURU GUI
that manages to get into the audio signal is an example of what the High Pass Filter
can remove, and it is quite effective at reducing or removing such noises without
impacting the musicality of the programming.
Output Level dBFS
The Output Level meter scale is calibrated in dBFS (decibels Full Scale) a common scale for digital audio equipment. The top of the scale represents 0dBFS, the
point where there are no more digital bits available to define further increases in level.
Trying to exceed this level will not allow the audio to increase any further and it will
become clipped and severely distorted.
The processing structure of the Aura8ip manages the peak levels applied to the
Output level control. Therefore, unlike the input meter where we want to stay below
-12dBFS, the Output meter can be pushed all the way up to 0dBFS without fear of
distortion.
An exception to this statement – when the Final Peak Limiter is not used the Output Control must be operated in a way that leaves some headroom above the meter’s
maximum peak indications … “just in case.”
Taking Presets
Aura8ip is equipped with over two dozen Factory Presets and we recommend
listening to each preset with typical programming to find the one that best meets your
needs. Select the preset closest to the desired sound texture and use the six processing
tweakers of the Guru GUI to ‘dial it in’ if necessary.
When the GUI’s Preset button is pressed a dialog
will open (see left) with a list of the presets currently stored on the Aura8ip hardware. Presets are
put into use by double-clicking them.
Note that the presets in the list are shared between
the eight processors inside the Aura8ip – every preset
is available to every processing channel. The same
preset can also be used on multiple channels at the
same time. Likewise, any user preset that has been
created for one processing channel may be used on
any other processing channel.
Note: unlike other Wheatstone products with
Embedded Vorsis Processing™ the Aura8ip does
not have just one Quick Start preset. Rather, it has
three:
- Quick Start_1band
- Quick Start_2band
- Quick Start_3band
We believe these presets are good basic starting
points for each of the three processing structures.
They may be used as is, or modified using the Guru
GUI’s six tweaker controls and then saved as new
presets if desired.
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Aura8ip GURU GUI
We attempt to name presets according to the application that we feel they may be
appropriate for; however the name doesn’t always mean that the preset is only good
for an application by that name. That said, we do use a preset naming convention
that has four defined variables which are intended to make it easier for users to select
which preset to use or start with. That naming convention is as follows:
<Potential Use>_<Number of Bands>_<Tonal Quality>_<Dynamics Feel>
Following this, a preset called TalentHeadphones_3Band_Warm_Compressed
could be used for processing console audio for feeding it to talent headphones in
order to provide air staff a simulated off-air signal in the situation where the use of
diversity delay in an HD-equipped system makes listening to the actual off air signal
impractical.
Please feel free to experiment with each preset to see how it sounds in your application. New presets are frequently added to the Wheatstone website for customers to
download, and presets can easily be installed into any Aura8ip via the GUI’s built-in
Preset Management feature.
Guru’s Six Adjust Sound Controls
The six controls in the Guru GUI
make adjusting the sound of processing far easier than using the more than
90 controls assigned to Aura8ip’s processing.
The Guru GUI has six “tweakers;” four slider controls for adjusting
processing texture and two knobs for
adjusting the low and high frequency
equalization. When a Factory preset is
recalled all six tweakers reset to their
midpoint positions, which is “5” for
the four texture tweakers and “0” for
the two EQ tweakers. Each tweaker
then allows adjustments up and down from the Factory preset’s starting point. The
six Guru GUI tweakers are:
AGC Drive
This control adjusts how much long-term AGC processing is applied to the audio.
Higher settings cause deeper AGC action which will tend to hold up fading musical
passages longer while lower settings do the opposite.
Compression
This control adjusts the amount of medium-term compression. Higher settings
bring out subtle details in the program content as well as add a bit of energy and some
loudness to the signal. Lower settings do just the opposite.
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Aura8ip GURU GUI
Punch
This control primarily changes the amount of short-term processing, making the
audio denser when the control is pushed up, and less dense when it is pulled down.
Increased density also tends to increase the perception of loudness, so this control
has some effect on that parameter too.
Loudness
In addition to the output level control which adjusts the actual processing chain’s
output level (which of course does affect loudness) the Loudness control is the primary control associated with the actual processing itself. Pushing this control up will
make the audio louder by making it more dense, while pulling the control down will
have the effect of lessening density which then reduces the perception of loudness.
Mid/High EQ
This control modifies the equalization being applied by a particular preset. Turning
the control clockwise increases the amount of mid and high frequency energy, while
turning it counterclockwise has the opposite effect and reduces this energy.
Low/Warm EQ
This control behaves the same way the Mid/High EQ control does, but it affects
only the lower frequencies.
Why Six Controls and Not One?
Over the years there were processors equipped with a one-knob, less-more, adjustment intended to be a simplified user interface. After selecting a Factory preset, the
user would turn the less-more control up or down to change density and loudness.
Customers told us that one knob didn’t allow them the kind of control they really
wanted. They told us didn’t want to need to know processing’s technical terms, but
they did want more than one knob – maybe a couple of knobs that could turn after
taking a preset that could change several aspects of that preset’s basic sound instead of
just density and loudness. So we listened. We took their suggestions and their advice.
We designed what we believe is a better way...
Instead of one knob, there are six, and each one provides plenty of adjustment
range around a Factory preset’s base values. With six tweakers instead of one, each
factory preset has millions of sound textures available instead of just ten. Lost? Get
right back where you started by simply recalling the preset again.
How Do the Tweakers Work?
Each Guru tweaker moves a group of controls that would normally be associated
with the big Professional GUI. Note that the Guru controls are not new controls, nor
are they ones that would normally be hidden behind some secret back door. Rather,
they are extensions of the same controls already existing in the Professional version
of the graphical user interface. The biggest difference between the two GUIs is that
a Guru tweaker can modify more than one processing parameter at a time while Professional GUI can’t.
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Aura8ip GURU GUI
What Causes a Guru Tweaker to Stop Before Reaching 0 or 10?
Because Guru is adjusting parameters that would normally be associated with the
Professional GUI, it’s possible for one of the parameters being adjusted to encounter its
normal end stop while being adjusted by a Guru tweaker. Since we’re not allowed to go
past a control’s natural end stop Guru must do something to let the user know that an
end stop he can’t see has been reached, and we do this by preventing the Guru tweaker
from going any further in whatever direction is causing a parameter to reach one of
its own natural limits (the same limit that Pro GUI would bump into if it were being
used). The following graphic shows one Guru tweaker manipulating eight processing
parameters and it will help to illustrate this point.
At left, eight Pro GUI parameters
are being simultaneously adjusted
by one Guru tweaker. These parameters are represented by the eight
vertical bars labeled Var 1 through
Var 8, and the horizontal lines inside
each one show where that parameter
currently is within its available adjustment range.
Notice now the vertical bars for “Var 3” and “Var 7,” and how close they already
are to their minimum and maximum values. Remember that these controls are not seen
by a Guru GUI user but they do exist in Professional GUI. Remember also that each
“Var” has its own pre-determined minimum and maximum limits.
Imagine now that the Guru tweaker is being moved up towards 10 and all eight
“Var” sliders are following along. It should be obvious that “Var 7” is going to reach
its upper limit long before the other “Vars,” and it might also reach its limit before the
Guru tweaker does. What happens?
As soon as one of the eight ‘Vars’ reaches its limit, the Guru tweaker is stopped from
moving any further in the direction that it was being moved. This same scenario applies
when a Guru tweaker is being moved downward to reduce a setting.
This is an important concept to remember: if a Guru tweaker won’t go any further in
one direction or the other it is because one of the values that it is modifying has reached
a normal predefined limit. Each Guru tweaker can do the work of many controls. Each
Guru tweaker has enough range to provide a lot of variability from Factory presets,
even when the adjustment range seems to be inexplicably restricted by control limits
that are not seen by a Guru user.
Guru GUI Caveats
If you’re a processing expert, Professional GUI is your gateway to extremely deep
customization of Factory presets. Guru GUI, on the other hand, is designed for those
without a lot of audio processing experience, helping them quickly achieve a desired
sound without needing to learn the interactions of literally hundreds of controls.
What follows is an overview of things to keep in mind about how the Guru GUI
interacts with both the Aura8ip and the Professional version of the GUI.
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Aura8ip GURU GUI
• The Guru GUI can only modify virgin Factory presets.
Guru GUI relies on known starting points within the Factory presets before it can
make modifications. Therefore the only presets that can be modified by the Guru
GUI are Factory presets.
• Once a Factory preset has been modified by GUI Professional it cannot be
modified using Guru GUI.
If a Factory preset has been modified by the Professional GUI it is no longer a
“Factory” preset and therefore it is not allowed to be modified using Guru GUI.
Understanding the Differences Between Factory, Legacy, and
Guru Presets
• Factory presets are those created by the Factory using specialized tools.
• Legacy presets are presets that are created by a customer using the full control
Professional GUI, or those created and saved by the Guru GUI.
• The biggest difference between the two types of presets is that the Guru GUI is
permitted to modify only Factory presets.
• If while using the Guru GUI you receive the “Restricted Preset” dialog, shown below, and you know for sure that the preset being adjusted is a virgin Factory preset,
simply recall the preset again using the Guru GUI and the error should disappear.
Additional Notes on Aura8ip and Network to GUI Connectivity
Aura8ip utilizes both TCP/IP and UDP to communicate with the remote GUI.
TCP/IP utilizes Port 55901 and the first available UDP port in the range of 60001 to 60010
during communications sessions.
TCP/IP - The TCP protocol is used for controlling the Aura8ip and reporting its
control settings back to the GUI because TCP repairs any transmission errors that might
have occurred on the network. Using TCP for this function guarantees that the Aura8ip
controls always do exactly what the GUI tells them to do, and that the control settings
seen on the GUI are in perfect agreement with what the Aura8ip hardware thinks they are.
UDP - Metering between the Aura8ip and the GUI works differently. For this task we
chose the UDP protocol, a simple data transmission model without any hand-shaking to
drive the meters. We used UDP for metering because of its very low overhead at both ends
of the link, and because we don’t mind if an occasional meter data packet (or a bunch of
meter packets) gets lost on the network. Metering data is updated frequently so a missed
metering packet here or there has an inconsequential effect on the visual appearance and
no impact whatsoever on the sound.
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Aura8ip Pro GUI
Aura8ip Pro GUI
Chapter Contents
Selecting the Processor Instances............................................... 3-3
A Word About Our Controls.......................................................... 3-4
Input Controls................................................................................. 3-4
High Pass Filter (HPF)................................................................................................. 3-4
Stereo.....................................................................................................................3-5
Sum & Difference................................................................................................... 3-5
AGC and Compressor Controls - Part 1....................................... 3-5
AGC Backoff................................................................................................................ 3-5
Band Coupling............................................................................................................. 3-6
Gate Thresh, Gate Delay, and Gated Mode................................................................ 3-7
Number of Bands........................................................................................................ 3-7
Crossovers.................................................................................................................. 3-8
AGC and Compressor Controls - Part 2....................................... 3-9
Threshold.................................................................................................................... 3-9
AGC Attack/Release.................................................................................................... 3-9
Compressor Attack/Release....................................................................................... 3-10
Compressor Ratio...................................................................................................... 3-10
Gate Offset................................................................................................................. 3-11
Processing Band L+R and L-R Outputs..................................................................... 3-11
Makeup Gain.............................................................................................................. 3-12
Parametric EQ................................................................................ 3-13
A Word About Our Limiters.......................................................... 3-15
Multiband Limiter........................................................................... 3-15
Threshold .................................................................................................................. 3-16
Limiter Attack.............................................................................................................. 3-16
Limiter Release.......................................................................................................... 3-16
Output Trim................................................................................................................. 3-17
Multiband Limiter Options........................................................................................... 3-17
MB Lim Soft........................................................................................................... 3-17
Bass Enhance....................................................................................................... 3-17
Look Ahead Final Peak Limiter.................................................... 3-17
Final Lim Drive........................................................................................................... 3-17
Attack.........................................................................................................................3-17
Release...................................................................................................................... 3-17
Delayed Release Control........................................................................................... 3-18
Look Ahead Limiter Special Option Checkboxes....................................................... 3-18
Final Limiter........................................................................................................... 3-18
Delayed Release................................................................................................... 3-18
Look Ahead........................................................................................................... 3-18
Output Control............................................................................................................ 3-18
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Aura8ip Pro GUI
Metering Discussion..................................................................... 3-19
Input Metering............................................................................................................ 3-19
Gain Reduction Meters............................................................................................... 3-19
Multiband AGC/Compressor and Limiter............................................................... 3-19
Final Lookahead Limiter Metering......................................................................... 3-19
Normal Gain Reduction......................................................................................... 3-19
Output Metering.......................................................................................................... 3-20
Sidebar Region.............................................................................. 3-20
Preset.........................................................................................................................3-20
Locking Presets..................................................................................................... 3-21
Library........................................................................................................................3-22
Devices....................................................................................................................... 3-22
Quick Save................................................................................................................. 3-23
Title Bar Region............................................................................. 3-24
Status.........................................................................................................................3-24
Devices....................................................................................................................... 3-24
Presets.......................................................................................................................3-24
Accessing Menu Option................................................................ 3-25
File Menu Items.......................................................................................................... 3-25
About.....................................................................................................................3-25
Choose Skin.......................................................................................................... 3-25
Exit........................................................................................................................3-25
Hardware Menu Items................................................................................................ 3-25
Devices.................................................................................................................. 3-25
On-Line Mode........................................................................................................ 3-25
Login Password..................................................................................................... 3-25
Version.................................................................................................................. 3-25
Preset Menu Items..................................................................................................... 3-25
Take.......................................................................................................................3-25
Save......................................................................................................................3-25
Library................................................................................................................... 3-25
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Aura8ip Pro GUI
The Aura8ip Professional (Pro) GUI
Unlike the Aura8ip GURU GUI, which was specifically designed to help simplify
processor tuning for those without a lot of processing expertise or not needing a deep
level of tailoring, the Aura8ip Professional (Pro) GUI is intended for the audio processing
expert. This GUI holds nothing back, every parameter is revealed – the number of bands,
parametric eq., thresholds, attacks and releases, interband-coupling, individual band mix
levels, stereo enhancement, etc. Nothing is hidden, and to eliminate paging back and forth
between processing sections everything is logically presented on one page per Aura8ip
processing instance.
This section of the manual will address all of the available adjustments and help familiarize you with what the adjustments do.
Selecting the Processor Instances
There are eight 3-band Vorsis audio processors inside the Aura8ip. Each processor can
be accessed by selecting the tab of the processor you want to adjust at the top of the Pro
GUI. A check mark appears next to the selected processor. In this case, processor (Proc)
“A” has been selected.
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Aura8ip Pro GUI
A Word About Our Controls
The control at left is typical of those found in the Pro GUI. To increase
its value, left click on the UP arrow. To decrease its value, left click on
the DOWN arrow. If you wish to quickly move to a value, you may click
and hold the UP or DOWN arrows and the control will scan to the end
of its range.
Another option is to double-click in the numeric field of the control which
will open up a dialogue where you can input the value you want. If the
value is not within the range of the controller, the controller will return
to the last known good value that was selected.
Controls that have a DOWN arrow but no UP arrow are drop down
menus. Usually, only 2 or 3 fixed options are available within this type
of control. Click the arrow, select the parameter and the drop down menu
will automatically close, having selected and displayed the new value.
Input Controls
The upper left corner of the Pro GUI hosts the Input settings for the
selected processor instance. Here, the input levels and left/right balance
can be adjusted, and there are also options for reversing the phase of both
left and right channels (Abs. Phase), swapping channels (L/R Reverse)
summing the left and right input to mono (Mono (Sum L+R)) and turning
on and off the phase rotator.
The input level range is adjustable between -36dB to +12dB with a setting of 0dB referencing a peak input level of -12dBFS. Left/right channel
balance may be corrected by +/-12dB from 0dB (default).
High Pass Filter (HPF)
The purpose of a high pass filter is to remove or reduce low frequency signals that are in the audio, but may
not be a desired part of the audio. Whatever frequency
is chosen as the Cutoff Frequency is the frequency at
which the response to undesired signals will be reduced
by 3dB (half power). The high pass response is that of
a critically damped fourth order filter.
The high pass filter (HPF) in the Aura8ip is designed
a bit differently than those found in other processors in
that it has the ability to reduce undesired low frequency
noise in the sum (mono) signal, or the difference (stereo) signal, or both. It does this by
using its two different high pass filter operating modes as explained next.
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Aura8ip Pro GUI
Stereo ­– In the STEREO (St.) mode, the left hand control sets the fre-
quency where the filter begins to work on both sum and difference signals
simultaneously. Because the effect is applied to both signals equally,
it is mathematically equivalent to the filter being operated in the left/
right domain. As the image at upper left shows, audio signals below the
selected frequency are reduced or filtered out.
Sum & Difference – In this mode, two controls separately affect the
L+R and L-R aspects of the input audio. Since lower frequencies (generally below 300Hz) are non-directional, eliminating lower frequencies in
the L-R domain can yield enhancements to the audio signal above the
filter’s frequency. Adjust this control while listening to the bass to find
the best setting when using the HPF in this mode.
As with all adjustments in the Aura8ip, the high pass filter settings are
preset dependent. That is, presets can be saved with the HPF in STEREO or SUM & DIFFERENCE modes, and the preset will remember this. Speaking of presets…
AGC and Compressor Controls - Part 1
To the right of the Input control column is the column of Master adjustments for the multiband AGC. These adjustments include AGC Master
Drive (with a range of -12 to +6 dB), the AGC Backoff control (explained
next), Band Coupling, Gate Threshold, Gate Delay, Gate Mode, and lastly,
controls for the Number of Bands of processing desired and the Crossover
frequency adjustments.
AGC Backoff
This is a very unique control found only in Vorsis signal processors. The
AGC Backoff algorithm decouples the AGC and Compressor processing
blocks from each other. When the Backoff control is set to 0dB the AGC
and Compressor act as one processor. However, as the Backoff control is
adjusted towards -6dB, the AGC and Compressor become more decoupled
and begin acting as two separate processors. A better explanation of our
AGC Backoff control, a control sometimes called the “Detail” control by our
customers, is in order.
The diagram at
left shows the essentials of what the
AGC Backoff control does. When
the Backoff control is at 0dB the
AGC and Compressor are operating
with identical thresholds. While their
time constants may be different (and
typically are) their thresholds, or
the audio level where they begin to
reduce the level, are the same.
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Aura8ip Pro GUI
As the Backoff control is adjusted away from 0dB the threshold of the AGC is
raised above that of the Compressor. This causes the AGC to do less work, but since
the AGC and Compressor operate as two separate entities they do not see each other,
and the Compressor has no idea that the AGC is now doing less work.
The audible effect is that as the Backoff control is adjusted away from 0dB the
action of the Compressor becomes more obvious even though it is doing the same
amount of work. In essence, lifting the AGC threshold has exposed the action of the
Compressor, which then exposes the audibility of the work that it is doing. Because
the AGC/Compressor stage always operate in sum and difference mode, as the Backoff
control is adjusted away from 0dB the audibility of processing on L+R and L-R is
increased, with the net effect being that the audio becomes more detailed, more alive,
has more depth, and is more up front.
It is important to recognize that while the Compressor and AGC operate independently, from a maximum gain standpoint they are linked. That is, at any moment
in time the Compressor can never have more gain than the AGC. In fact, when the
AGC and Compressor attack a signal at their own time constants and then release,
the Compressor can only increase its gain up to whatever gain value the AGC is current at. This behavior is obvious in operation by watching the two meters associated
with AGC and Compressor gain reduction as audio is being processed – because the
attack time of the Compressor is shorter, it will be reducing gain more than (or faster
than) the AGC.
Moving the AGC Backoff setting away from 0dB is one of the places in the processing structure where additional density and loudness may be gained. Basically, you
have the ability to not only add or take away compression via the bypass option, but
you have the ability to dial in the audibility of that compression in any way desired.
Note that if the AGC Backoff is operated at its maximum value (-6dB), changes
to the compressor release times will probably be needed in order to ensure that the
audio doesn’t become too busy-sounding or overly dense.
Band Coupling
This adjustment controls how much gain could be ADDED by the AGC
in Bands 1 and 3 (referenced to Band 2) when energy in those two bands
isn’t sufficient to cause the same amount of gain reduction as is occurring
in Band 2. When Band Coupling is set at 0dB the AGC will prohibit the
gains in Bands 1 and 3 from increasing above whatever the current gain in
Band 2 happens to be. This prevents Bands 1 and 3 from adding gain when
they release, which causes the spectral balance to remain flat. A setting like
this is useful in situations where the benefits of multiband gain control are
needed but “spectral rebalancing” is not required or desired.
As the Band Coupling control is moved away from 0dB Bands 1 and 3
are allowed to have more gain than Band 2 by whatever the Coupling setting is. For example, setting the control at -6dB will allow Band 1 and 3 to
add up to an additional 6dB of gain from Band 2.
It should be noted that the Band Coupling control works only on the
AGC. If the AGC is bypassed and the compressor is enabled the compressor
does not utilize the Band Coupling controls and therefore it will be allowed
to take on as much gain as needed. Also to be noted is that in this mode the
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Aura8ip Pro GUI
compressor will always release to 0dB gain reduction because the compressor itself is
not gated, only the AGC. We do not recommend using the compressor by itself unless
a specific sound is desired or it is used with light (<6dB) of average gain reduction.
Gate Thresh, Gate Delay, and Gated Mode
Each band of the AGC is managed by a gating algorithm that serves to
freeze the AGC’s action when audio levels fall below a set value. In effect,
that gate manages how the AGC recovers in the absence of audio. Without
a gate, the gain would continue to increase as the AGC released, potentially
causing noise suck-up or other undesired effects.
The operation of the Gate Thresh control is straightforward. When audio
in a processing band falls below the value set by the Gate Thresh control,
the AGC will freeze its gain. The compressor may be allowed to decrease
gain if needed, but no additional gain increase will occur by the AGC once
audio has fallen below this value.
The Gate Thresh is calibrated in dBFS (decibels Full Scale) a common calibration in digital audio equipment. Because the internal audio
reference level is -20dBFS (to allow headroom) a normal Gate Threshold
setting will be as much as 24dB to 30dB below this value. Therefore it is
quite normal to see Gate Threshold settings that are in the range of -44dB
to -60dB. The gate function may be defeated by adjusting the Gate Thresh
control towards -80dB which will then disable it and cause the Gate Thresh
display to indicate OFF.
The Gate Delay setting tells the AGC how long to wait after the audio
falls below the Gate Thresh before it freezes the gain. The control range
is 50ms to 500ms. Setting the Gate Delay control to times greater than about 100ms
loosens up its action which helps gating action when the level of audio passages is
just riding the Gate Thresh level.
The Gated Mode control decides if the AGC should freeze the gain when audio
falls below the Gate Thresh (Gate), or if it should allow the gain to very slowly recover towards 0dB gain reduction (Ooze). As explained in the introduction, allowing
the gain to freeze prevents noise suck-up in the absence of audio. The Ooze function,
on the other hand, can be very helpful on formats such as Classical or Jazz, where it
might be inappropriate for the AGC gain to get stuck when audio was present, but
below the Gate Threshold setting. Using the Ooze mode to allow the gain to slowly
recover sounds very natural, and therefore this is the setting that is recommended for
the more gentle formats.
Number of Bands
The Aura8ip’s AGC, Compressor and Limiter sections may be operated in wideband, 2 band or 3 band modes. Whichever operating mode is selected, the appropriate
number of columns of processing controls will appear in the Pro
GUI. When switching from 3 Band, to 2 Band, to Broadband mode,
columns of controls will be defeated and hidden, revealing only the
controls available for the number of bands chosen.
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Aura8ip Pro GUI
The Aura8ip’s eight processing sections are completely independent, so each processor may be operated in any band count desired.
Comparison of AGC controls visible in 3 band mode (left),
2 band mode (center), and broadband mode (right)
Crossovers
The purpose of a crossover (Xover) is to separate the audio spectrum into different
frequency bands prior to processing. The reason this is done is to eliminate or reduce the
effects of gain control happening in one part of the spectrum from affecting another. For
example, processing bass-heavy material with a broadband (1 band) processor almost
inevitably results in an effect called “spectral gain intermodulation,” which simply means
that the gain is being arbitrarily changed in one part of the audio spectrum because of
signals in another part of the spectrum that need the gain to be changed. Unless this
is done to create an effect, spectral gain intermodulation can be annoying as well as
fatiguing to listen to.
Aura8ip has very flexible phase-linear crossovers which operate at
24dB/ocatave (4th order). Each crossover may be adjusted within a
wide frequency range:
- The BAND 1-2 crossover is adjustable between 20Hz and 687Hz in 3 band mode,
or 20Hz and 20kHz in 2 band mode. This band has a wide adjustment range in order
to accommodate the requirements of running in two band mode
- The BAND 2-3 crossover has a range of 728 to 20 kHz.
Making the crossover settings by ear is the best way to discover how to set the crossovers for the best sound on the type of material being processed.
In “3 Band” mode, the BAND 1-2 crossover will usually end up between 80 and 300
Hz while the BAND 2-3 crossover will fall somewhere between 800Hz and 3kHz.
In “2 Band” mode the Band 1-2 crossover will be found somewhere in the range
between 120Hz and 400Hz. There is no Band 2-3 crossover setting when the processing
is in two band mode because in that mode there is no Band 3.
In Broadband mode there are no crossover settings because there is no crossover to
adjust.
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Aura8ip Pro GUI
AGC and Compressor Controls - Part 2
To the right of the AGC Master controls in column #1 are additional adjustments for each of the three AGC/Compressor bands. As pointed out earlier,
the number of AGC/Compressor control columns depends on the number
of processing bands chosen. We have chosen to color code the controls in
each column to make navigation easier. Please note that column #2 and #3
are the only two AGC/Compressor columns serving two roles:
Column #2: Processing adjustments for the lowest frequency band when
in 2 or 3 Band mode, or all of the controls when in Broadband mode. The
control values in this column are always orange.
Column #3: Processing adjustments for the “Mid” band when in 3 Band
mode, or the “High” band when in 2 Band mode. The control values in this
column are always yellow.
Column #4 is only visible when the AGC/Compressors are operating in
3 Band mode and it hosts the processing adjustments for the “High” band
when in 3 Band mode. The control values in this column are always blue.
What follows is an explanation of what each processing control is called,
what it does, and if applicable, what its audible effect is.
Threshold
The first adjustment in each column is the Threshold (Thresh) control. This control
sets the level at which the AGC will start working (or processing) the audio. If the AGC
is defeated, then this control will govern the behavior of the compressor.
Like many other controls, the Threshold control is calibrated in dFBS. And, like
the Gate Threshold discussed previously, the Threshold control operates with a peak
program reference level of -20dBFS. What this means is that if the onset of AGC gain
control action should begin 20dB below average program level (to achieve 20dB of
average compression), this control should be set 20dB below the internal reference
level, or at -40dBFS.
AGC Attack/Release
The next two adjustments in the column control the speed of the AGC. The AGC
Attack setting controls how fast the AGC adapts to increases in audio levels. The range
of the AGC Attack control is 50-500ms.
Conversely, the AGC Release control setting controls how fast the AGC responds
to decreases in audio level. The range of the Release control is 1000-7000ms (1 second
to 7 seconds).
Recommending “perfect” settings for the AGC Attack and Release controls is difficult
because of how highly subjective the resulting processing will be. What this means is
that the settings are highly dependent on many factors including the desired density of
processing and its audibility. In general, slower settings in both controls create less noticeable AGC action while faster settings cause the audibility of processing to increase.
If we were to recommend starting points for the AGC Attack and Release we would
specify around 300 ms for Attack and 4000ms (4 seconds) for Release. While the range
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Aura8ip Pro GUI
of the AGC Attack controls could achieve a 50ms Attack and 1000ms Release, we do
not suggest using AGC Attack times faster than about 150ms and Release times faster
than about 2000ms IF all parts of the processor are enabled (AGC, Compressor, Limiter, etc.).
Compressor Attack/Release
These next two adjustments control the timing of the Compressor. Unlike
the AGC however, the Compressor is designed to work primarily on short
term dynamics and therefore helps to not only build density, but it allows
the limiters upstream to not work so hard on the audio coming out of the
AGC/Compressor stage.
The Compressor Attack (Comp. Attack) control range is adjustable between 3ms and 100ms. Compressor Release (Comp. Release) is adjustable
between 50 and 1000ms (1 second). The ranges of the Compressor controls
have been limited to what we feel are the most useful settings and they cannot
be set to sound bad. That said, we recommend Compressor Attack settings
of between 3ms and 20ms and Compressor Release settings around 300ms.
These settings may need to be modified to work better in concert with other
controls later downstream.
Compressor Ratio
The Compression Ratio (Comp. Ratio) control adjusts how much the audio
output level is allowed to increase as the input level increases. A Compression Ratio of 1:1 would make output level changes be a mirror image of the
input, i.e., there would be no processing. Likewise a Compression Ratio of
20:1 would allow the output level to only increase by 1dB even though the input level
increased by 20dB (a 10:1 change).
The ‘correct’ setting of the Compression Ratio control is highly subjective, just
like many other controls in any audio processor. However, our experience is that a
Compression Ratio setting of between 2:1 and 6:1 is the most useful, with a setting
halfway between (at 4:1) a good all around tradeoff.
Higher Compression Ratios will sound tighter and more squashed while lower
Compression Ratios will sound more free and dynamic. The user is completely free to
use whatever Compression Ratio he feels sounds best in his application.
It would not be uncommon to see different Compression Ratio settings for each
processing band, although that is never a requirement. Our recommendation is to pick
a number, say 4:1, and set all bands to that Compression Ratio. Then after adjusting
the other controls for the desired density and impact, make small adjustments to the
ratios as needed to tame a particular issue. Let us provide an example of when the
Compression Ratio is the right knob to grab:
Suppose the Aura8ip is running in its 3 Band mode and everything is sounding really
good but you notice that sometimes the high end isn’t quite controlled enough on some
material. The best way to even things out would be to slightly increase the Compression
Ratio for Band 3, and only band 3. Suppose you look at the Compression Ratio setting
for that band and see that it is set to 4:1. Try setting it a bit higher, to perhaps 4.4:1 and
then listen for a while. If there is too much control, reduce the ratio a little and listen
again. If it’s not controlled enough, nudge it up a little and listen again.
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Again, the ears are always the best judge of the correct settings to use. The best
advice that we, as processing experts, can offer an end user about audio processing
is this:
Regardless of what the controls and the meters might say,
if it sounds right, then it IS right!
Stop adjusting!
Gate Offset
The Gate Offset applies a Gate Threshold offset to each band – an offset
of whatever the master Gate Thresh is as applied in the first column.
The purpose of the Gate Offset controls is to allow the precise gating thresholds for each band to be different from the master setting by a specified amount. The amount of available offset is
+/-6dB. The best way to explain how the Gate Offset controls work is by
example:
Suppose the master Gate Threshold is set to -48dB and everything seems
fine except that sometimes Band 3 seems to be gating too late. This can be
remedied by adjusting the Band 3 Gate Offset to a setting that is “higher”
than 0dB, such as +3dB, which would then set the Band 3 Gate Threshold
to -45dB (-48dB plus 3dB = -45dB). This adjustment will have raised the
effective Gate Threshold for Band 3, making its gate operate sooner.
At first glance the Gate Offset controls may not seem to have much range,
but remember that -6dB is half and +6dB is twice whatever the 0dB gating
level is.
Processing Band L+R and L-R Outputs (L+R Out, L-R Out)
Each processing band has a pair of output level controls (L+R Out, L-R Out) that
serve as mix controls allowing the processing’s output spectral mix to be adjusted to
taste. Both pairs of Output controls have a +/-6dB range. The L-R Output controls,
because they are a special case, are also equipped with a MONO position (to be
covered shortly).
The L+R and L-R Output controls feed the input to the following multiband limiter (if enabled) so some care must be taken in
adjusting the mix controls in order to feed the multiband limiter
an appropriate signal. We recommend staying within a +/-3dB
range when setting the L+R Output mix controls.
As mentioned previously the L-R Output controls are a special case. The Aura8ip AGC/Compressors operate in the sum and difference domain (L+R/L‑R).
What this means is that the mono part of the signal (L+R) and the stereo parts of the
signal (L-R) are processed independently. Doing it this way permits useful audio
enhancements that cannot be accomplished in processors that operate strictly in the
Left/Right domain, as most do.
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In the Aura8ip the L-R Output control adjusts the stereo part of the audio signal
(its depth, width, and spectral balance) without affecting the mono, or “dead center”
part (such as live voice). This permits very unique sonic signatures to be created that
cannot be achieved any other way.
Because there is an L-R Output mix control for each band, certain parts of the audio
spectrum may have their stereo width and depth enhanced (or reduced) independently
of the other bands.
The L-R Output controls also have a MONO position. When a band’s
L-R Output control is set to MONO, there is no L-R stereo width
or depth signal added by that band. A popular use of this feature is
to remove subsonic “mud” from the stereo difference signal. Bass
energy in most contemporary music has equal amplitude, in-phase
components in the left and right channels, so any L-R signal that
might creep into the low frequencies is probably not bass at all, but noise or other
undesired signals. By setting the Band 1 L-R Output (L-R Out) control to MONO,
extraneous signals that might otherwise have contaminated the bass frequencies are
eliminated.
The setting of the L-R Output controls also adjusts the amount of stereo enhancement present in the output mix. Adjusting the L-R Output controls to
positive numbers increases the amount of stereo separation for frequencies contained in the bands whose controls are set above 0dB. A useful setting of the
L-R Output controls for tasteful stereo enhancement would be Band 1 = 0dB,
Band 2 = +3dB, Band 3 = +1.5dB. Of course reducing these controls has the opposite
effect, reducing stereo separation.
Makeup Gain
All of Aura8ip’s processing is accomplished by feed-forward control algorithms.
Feed-forward control has the advantage that it doesn’t rely on errors
in the compressor’s output signals (as do feed-back algorithms) in
order to dynamically control the gain. Rather than measuring mistakes in the output level and then trying to correct them by a (now
very late) control signal, feed-forward control prevents errors in the
output signal by carefully measuring changes in the input signal’s
levels and then calculating the precise amount of gain control needed
to achieve the perfect output.
Because the compressor’s output levels are controlled by changes in the input
levels, when the input levels go up, the compressor will push the output level down
by whatever amount of gain reduction is called for. This causes the output levels of
feed-forward compressors to need to be “made up” after processing, and this is accomplished with a control called Makeup Gain.
The amount of Makeup Gain needed is a function of how much gain reduction
was called for due to an increase in input level. In our design we leave around 6dB
of additional headroom to accommodate the compressor attack times and such, so if
20dB of gain reduction is being done by a band’s AGC/Compressor, then the correct
amount of Makeup Gain will be 20dB plus that 6dB, or around +26dB.
The less gain reduction being called for, the less Makeup Gain that is required to
bring the signal back up to normal levels afterwards.
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Those who may be concerned about “… adding gain after AGC/
Compression because it will increase noise…” need to know that
the signal processing chain inside Aura8ip has 144dB of dynamic
range. This is approximately 50dB more dynamic range than a
digital CD. Therefore “noise” is of no concern whatsoever – the
processing chain will remain absolutely dead quiet regardless of
the amount of Makeup Gain that may be required.
Note also that the amount of Makeup Gain is somewhat dependent on the Compression Ratios being applied to the signals in each processing
band. The higher the Compression Ratio, the tighter the output level is regulated, and
therefore the more Makeup Gain that will be required. However, the difference in the
Makeup Gain required with 20dB of compression at a 4:1 ratio and that required at
20dB compression with a 10:1 ratio is only around 3dB.
Parametric EQ
The Aura8ip is equipped with a flexible equalizer section which may be used to
sweeten the spectral balance. The equalizer provides a graphical representation of the
equalizer’s contribution to the audio by creating shaded areas in the graph representing the mathematical result of an overlapping equalizer sections.
The equalizer may be placed before or after the
AGC/Compressor stage, and though the audible effects of each placement are different (and sometimes
subtle) they are important to understand. We will
discuss this shortly.
The equalizer has two parametric sections (adjustable frequency, boost/cut, and
Q) and two shelving filters (adjustable frequency and boost/cut). The shelving filters
behave somewhat like tone controls on consumer audio equipment, and provide a
broad, low-Q boost or cut at the extremes of the audio spectrum.
The two parametric sections provide a broad or narrow boost or cut to any frequency within the 20Hz to 20kHz audio spectrum, and may even overlap to create
special EQ curves.
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Equalizer Band 1 provides a shelving response of +/-14dB and may be tuned between 20Hz and 198Hz.
Equalizer Bands 2 and 3 have a parametric response and may be tuned anywhere
within the 20Hz to 20kHz audio band, providing up to 14dB of boost or cut and at
bandwidths (Q) of between 0.20 and 3.0 octaves.
Equalizer Band 4 provides a shelving response of +/-14dB and may be tuned between 2.0 kHz and 20 kHz.
As mentioned earlier, the equalizer section may be placed before or after the AGC/
Compressor. Placing it before “preloads” the AGC and allows any tonal adjustments
to be managed by the AGC/Compressor. This, for instance, allows the adding in of
more bass or high end without fear of overloading the following multiband limiter on
some program material because the AGC/Compressor will see this extra energy and
try to manage it.
On the other hand, placing the equalizer after the AGC/Compressor can sound more
dramatic because any equalization is no longer managed by the AGC /Compressor
(which helps to tame it somewhat) but is instead managed by the multiband limiter
which typically is doing very little gain management.
The correct placement for the equalizer is both highly
subjective and highly dependent upon the particular
application. For most applications we recommend operating with the “EQ Post Dynamics” box unchecked. There are three ways to adjust
the EQ:
1. The sliders below the graphical area may be used to adjust the frequency, boost
or cut and the bandwidth (Q, if available) in the band of interest;
2. The value displays under the controls can be double-clicked which opens an entry
dialog where the desired values can be manually entered from the keyboard;
3. The equalization curves themselves may be dragged with a mouse to the desired
settings.
When manually dragging the curves there are three control
behaviors to be aware of. The first two pertain to the “+” at the
center of the curve which can be dragged left to right to set the
desired equalizer frequency and up and down to set the desired
boost or cut.
The third control is available only in the two parametric sections and it is represented by the tent symbol underneath the curve. Placing the mouse
cursor on this symbol and then dragging left or right adjusts the Q (bandwidth) of the
equalizer section.
If it seems that a curve isn’t responding to mouse input, right click
on the graphical area to bring up the dialog shown at left and select
the curve that you wish to adjust.
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When the equalizer section is enabled the audio spectrum being influenced by the
equalization is represented by shaded areas of the audio spectrum. To show what we
mean, please refer to the next graphic.
Here we’ve created a bizarre (for example only!) curve to show how the shaded areas
represent the mathematical effects of the applied equalization. We’ve added low and high
frequency shelving to boost the signals at the extremes of the audio spectrum. We’ve
also used the two parametric equalizers in an overlapping fashion to create two scooped
out areas of the midrange. Note how the yellow curve (bottom) is very broad – this is
applying a very broad dip in the frequency response between about 100Hz and 3kHz.
However, notice that the green curve (top) is set to be rather narrow – much narrower
than the yellow curve on the bottom. The combined effect is a broad reduction in frequencies between 100Hz and 350Hz and between 600Hz and 2.5kHz.
A Word About Our Limiters
Vorsis has returned the limiter to its rightful place as a device that only reacts to
control a peak in the audio level and only to the degree necessary to control that peak.
These limiters are not intended to be used to add their own signature to the audio; they
are there merely to prevent audio from exceeding a predetermined peak level.
In more conventional designs the limiters are sometimes found to be equipped with
gates, return to zero functions, temporary holds and even interband coupling. These
limiters typically need these functions to make up for deficiencies in the preceding
AGC or compressor – the limiters then act as a second, faster compressor to build density while, at the same time, are also tasked with controlling peaks. Conversely, Vorsis
designs utilize much better AGC and Compressor algorithms that allow the following
limiter to be just that, a limiter.
Unless the limiters have been tuned to create a very specific effect, there should normally be no more than 3dB of average gain reduction seen. At times, there may not be
any activity at all in a limiter band, however rest assured that the limiters ARE working
properly, they just don’t need gating and 12dB of gain reduction to do it!
Multiband Limiter
Before we begin discussing the multiband limiter it is important to recognize that the
number of limiter bands is controlled by the number of AGC/Compressor bands as selected by the Number of Bands control discussed
in the AGC/Compressor section of this manual. Further, if the
number of bands control has been set to Broadband, we recommend
not enabling the remaining band of the multiband limiter – this
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work is better done by the final limiter. In fact it will be obvious from our presets that all
Broadband factory presets defeat this limiter.
There are four adjustments for each limiter band:
Threshold (Band x Thresh)
This control has a range of -6dB to +6dB and sets the level at which LIMITING will
commence. At 0dB the limiter acts more as a protective device to prevent peaks from
getting above 0dB. Set to negative numbers the limiters begins to work sooner and therefore limits the audio to below 0dB. Set this way the limiter is not only preventing peaks,
it is also imparting its own signature on the sound. When set to positive numbers, and if
the gain structure of the processing prior to the limiters is correct, the limiter will still be
awake but will rarely, if ever, introduce gain reduction.
Limiter Attack (Lim Attack)
This controls how rapidly the limiter will act to control audio peaks. We made the
range of this control 0.3ms to 100ms however we recommend operating with settings
between 0.3 and 10ms. With settings slower than this, peak control will be sloppier and
though the multiband limiter attack setting isn’t critical, slowish attack times will make
the final peak limiter work harder.
Limiter Release (Lim Release)
This control sets how quickly the limiter recovers once a peak has passed and the
audio level falls below the limit threshold. The adjustment range of this control is 3ms
to 100ms.
Very fast release times (under 30ms and especially in the low band) coupled by very
fast attack times (under 5ms) will yield a tightly controlled audio signal that has a “radio” sound. Very slow release times (greater than 50ms) will yield a more open sound
that is still well controlled (relative to the attack time settings). As we have said with the
AGC/Compressors, unless you are very familiar with these types of controls, it’s probably best to not wander too far from the settings in the factory presets.
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Output Trim
Each limiter band is followed by its own Output Level mix control which can be
used to make fine adjustments to the final tonal balance. Because the setting of these
controls can be fairly touchy, we recommend leaving them at 0dB unless a specific
sonic effect is desired.
Multiband Limiter Options
The multiband limiter is equipped with two other operating
modes besides simply on and off. On and Off is controlled by
the checkbox labeled MB Lim. The other two options require
some explanation.
MB Lim Soft – Checking this box enables a small amount
of anticipation in the limiter behavior, causing it to start to
limit approximately 2dB below the absolute limit threshold as set by the Band x Thresh
control. This anticipation serves to soften the limiter action by making it “spongy.”
That is, it will ooze in and out of limiting in a softer fashion which makes it quite effective (and good sounding) in voice applications.
Bass Enhance – This checkbox enables a Vorsis-proprietary algorithm which enhances
low bass without creating intermodulation distortion or muddiness. It enhances the
sound of bass when heard on small, bass shy speakers and adds richness to the sound
without adding noticeable distortion.
Look Ahead Final Peak Limiter
The final section of processing is the Lookahead Limiter with its
defeatable lookahead function. In studio applications, the final limiter
can probably be defeated. However, if the audio destination is a method
of transmission (STL, audio stream, uplink) with a defined maximum
peak input level, or if you want to recreate a “radio” sensation for talent
headphones, using this limiter is a good idea.
Final Lim. Drive
This control sets the drive level for the final peak limiter. The preferred
way to set this control is to adjust the Final Lim. Drive until there is 1dB
to 3dB of indicated limiting on the final limiter meter.
Attack
This control sets how quickly the limiter will react to audio peaks.
While the range for this control is 0.2 to 30ms, Vorsis recommends a
setting between 0.2 and 10ms. Anything slower than 10ms will not yield
effective peak control.
Release
This control sets how quickly the limiter will recover after reacting to an audio peak
and after the level drops. The range of this control is 33ms to 330ms, with a recommended setting of around 180ms.
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Delayed Release Control
This control sets the amount of delayed or secondary release for the
limiter. When Delayed Release is engaged (see below) the first 3dB of
gain reduction is released at the Release Time setting and the remainder
occurs at the speed set by the Delayed Release control. The purpose of
delayed release is to reduce or prevent intermodulation distortion when
very fast limiter release times are being used. Delayed Release also helps
to reduce pumping artifacts by preventing the limiter from making a full
gain recovery during syllabic changes in audio level.
Look Ahead Limiter Special Option Checkboxes
Final Limiter – When this box is checked the final limiter is engaged
and its operation is governed by the final limiter operating adjustments.
When this box is not checked the final limiter is disabled and no final
peak control is in effect.
Delayed Release – When this box is checked the final limiter is utiliz-
ing the Delayed Release algorithm as governed by the Delayed Release
control setting as explained earlier. When this box is not checked, only
the primary Release time algorithm is in effect.
Look Ahead – When this box is checked a small amount of lookahead is
applied to the final limiter, allowing it to react to an upcoming audio peak just
as it arrives at the limiter input. Lookahead allows the limiter to anticipate
peaks and adapt to them early enough that output level overshoots due to
non-zero attack time are prevented. We recommend using the Lookahead
option whenever signal path latency is NOT an issue. If latency is an issue,
this option should not be checked (lookahead is then bypassed).
Output Control (Output Level dBFS)
The output level control sets the absolute peak output level within the range
of -39.5dBFS to 0dBFS. If the control is set below -39.5dBFS the audio
is muted (OFF). Remember that there is no more processing available after this stage so some care is required in setting the Output Level if peak
headroom is a concern in your application.
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Metering Discussion
Input Metering
All metering in the Aura8ip is sample-accurate, true peak reading, including the gain reduction meters. The Input and Output meters are calibrated
in dBFS so that an accurate determination of these levels may be made. The
recommended input level operating range is between -18dBFS and -12dBFS.
Care should be taken to ensure that the input peak level never exceeds -9dBFS,
especially if the Phase Rotator is enabled. This is because clipped waveforms
exit any phase rotator at much higher peak levels because the phase rotator
upsets the signal’s harmonics. It is not uncommon to see clipped waveforms
exit a phase rotator with an increase of 12dB in peak levels!
In conventional, VU and average responding meters, 0dB (or 0 VU)
usually indicates the desired average operating level. On the other hand, the
metering within the Aura8ip follows standard operating practice for digital
signals and provides an accurate indication for when 0dBFS is reached. If
and when signal peaks reach 0dBFS, there are no more digital bits available
to define the audio signal which results in hard clipping and severe distortion.
The Input meter shown at left is indicating good input levels – peaks are at,
but not above, -12dBFS – good operating practice.
Gain Reduction Meters
Multiband AGC/Compressor and Limiter – The
AGC/Compressor gain reduction meters display the amount
of processing in each band, and for both the slower AGC,
and faster Compressor.
The gain reduction meters for the multiband limiters
look similar to the meters for the AGC/Compressor, but
have reduced scales more appropriate for limiters.
Metering for each band follows the L, M, H (Low, Medium and High) convention, and the left meter is for AGC
and right for Compressor.
Final Look Ahead Limiter Metering – The right-most
meter scale within the group of multiband limiter meters
is for the final lookahead limiter. This meter should rarely
show more than 2dB to 3dB of activity.
Normal Gain Reduction
The following is a general guideline for what normal indications might be:
Meter
Minimum Reading
Maximum Reading
Multiband AGC
3dB
24dB
Multiband Limiter0dB6dB
Final Limiter 0dB3dB
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Output Metering
Like the Input metering, the Output metering is sample-accurate, peak
reading, and is calibrated in dBFS. By observing the difference between
the consistency of the Input and Output levels the effects of processing
are readily apparent.
Note also that because the Output Meters are reading the peak levels
of audio which has been processed and probably also peak limited, there
is no maximum level constraint like there is on the Input side of the processor. In other words, the effects of processing have made the maximum
peak levels ‘known’ and therefore the Output meters may safely indicate
all the way up to 0dBFS.
While a 0dBFS output level is certainly possible, it may not be practical
from the standpoint that we do not know what the behavior of the device
following the Aura8ip is going to be, and whether it has enough headroom.
Our experience is that it is safe to set the digital output levels up to around
-3dBFS without incurring any unexpected distortion or other issue in the
equipment coming afterwards.
One additional thought about Output levels, if we may … when feeding audio
codecs it is best to keep their maximum Input level at -3dBFs or even slightly lower.
The reason for this is that when the codec removes energy from the audio (which it
must do in order to encode the audio) the peak audio levels inside the codec algorithm increase because information has been removed, information that was required
in order to maintain the original peak levels. Now, the designers of the codec may
have accounted for this effect, or they may not. We do not know for sure. Therefore
the best thing to do is run the codec’s input levels a little on the light side, perhaps
between -6dBFS and -3dBFS, just to be safe.
Sidebar Region
To the right of the OUTPUT METERING column is a vertical row of
seven special buttons. Each button has been designed as an entry point
into a dialog designed to help the end user get the most functionality out
of the product.
Preset
When this button is left-clicked, a Windows style dialog opens. The
Pro GUI must be online to the processor for the window to display the list
of presets installed on the Aura8ip hardware.
The folder called Aura8ip represents the hardware itself and the presets
stored there. Other folders, favorites, Factory Presets, etc. can only be
seen within the Library dialog, covered later.
The appearance of the window that opens when the Preset button is
pressed is shown on the next page.
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Here, the presets stored on the hardware itself are visible,
and any preset may be selected and placed into use by simply
double-clicking on it.
Note that each of the eight processors on board the Aura8ip
are completely independent – one processing instance has
no idea what presets may be running on another processing
instance.
An important concept to grasp is that the preset list is
common to all eight processing instances, so any preset that
might need to be taken by any processing instance must either
be stored here, or on the user’s PC.
In order to save a preset, simply press the SAVE button
to open a Windows-style file save dialog.
Note that the Pro GUI must be online to the
processor in order for presets to be saved.
If the Pro GUI is not online and the Save
button is pressed, a warning dialog will appear.
It is important to remember to save any preset deemed important before taking
another because any unsaved settings will be lost once the new preset is loaded.
There is no warning dialog!
When saving a preset, and unless selected otherwise, the preset will be saved into
the next available empty slot on the hardware.
Alternatively, by nudging the preset number (“PRESET #”) up or down, a preset
may be saved in any preset location except one that has been locked. If a preset is saved
into an unlocked location where a preset already exists, that preset will be overwritten
with the new preset!
Locking Presets – Presets that have been stored within the processor hardware may be
locked by the user to prevent inadvertent overwriting, renaming, or deletion. This is accomplished by opening the Preset Library by clicking on the Library button in the Pro
GUI. Once the list of presets is open, the presets stored on the processor hardware are
visible in the left pane.
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There are two ways to manage the lock status of user presets:
• The first method is by highlighting a preset (single left click) and then
right clicking it to open a dialog box. Among the options are Lock
Preset and Unlock Preset.
• The second method is by highlighting a preset as above, and then
clicking the Edit option at the top of the Preset Library dialog box to
reveal the Lock Preset/Unlock Preset options.
Note that these are user-level preset lock options and do not override the
lock status of a preset that has been factory-locked!
Library
When the Library button is clicked a three panel Windows-like dialog will appear.
This dialog is divided down the center, and each side has a special purpose.
The left hand side will display all of the
presets currently stored on the hardware,
and the right hand side shows the folders
and presets currently stored on the user’s
PC where the Pro GUI has been installed.
Simple Windows-style drag and drop
mouse actions are utilized when moving
presets back and forth between the PC and
the hardware
Note that if the Pro GUI is not online
to the hardware, no presets will appear in
the left hand pane simply because when
the Pro GUI is not online it has no way to
retrieve the list.
The Library dialog is also the place
where presets can be added and deleted
from the PC or the hardware, or if desired,
presets can even be locked on the hardware
to prevent inadvertent changes or deletions.
Devices
Clicking on the Devices button opens up a list of Aura8ip devices known to the
Pro GUI. To connect to any Aura8ip processor, it must first be selected in the device
dialog before the Pro GUI will attempt to go online to it. By highlighting the desired
Aura8ip’s name and hitting Select, the Pro GUI will then know that that is the unit you
wish to connect to the next time you press the Pro GUI’s Online button.
If the Pro GUI was already online to another device at the time a new device is
selected within the Devices dialog, the Pro GUI will immediately try to connect to the
new device as soon as the Select button has been pressed.
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The first time the Device dialog is opened, no devices will be shown. Before the
Pro GUI can connect to any Aura8ip the unit must first be made known to the Pro GUI
by using the Add Device dialog.
When the Add Device dialog is opened there is an opportunity to provide a custom
name for the Aura8ip, and this name will be shown in the Device window at the top
of the Pro GUI. Once the IP Address of the Aura8ip has been entered the Select button should be pressed if that is the processor you wish to connect to, or if you are just
adding a device for later, click the OK button to close the dialog.
Quick Save (QSave)
The Aura8ip has a unique feature called QSave which allows the instant comparison
of two different sets of processing tuning settings. It can also be used to compare the
sound of a Factory preset to the modifications being made by a user without having to
first save the user preset.
The QSave A and QSave B buttons are assigned to two temporary buffers inside the
Aura8ip that hold all current processing settings as long as power is applied to the unit.
While QSave A is highlighted green any adjustments that you make to the controls are
being saved to that temporary buffer. QSave B is another temporary buffer that operates
just like QSave A. When a QSave button is active its green indicator is illuminated.
Though there are several ways to use the QSAVE feature, one popular way is to
compare the sound of a factory preset to changes made to that preset by a user without
having to first save it as a user preset. To do this, follow these steps:
1. Recall the factory or user preset that you wish to adjust.
2. Ensure that QSave A is highlighted. If it is not, press its button to highlight it.
3. Press the B=A button. This will copy the contents of QSave buffer A to QSave
buffer B. Now the contents of both buffers are identical.
4. Change some settings on the Aura8ip. These settings will automatically be stored
in the QSave A buffer.
5. Compare your changed settings to the recalled factory preset by pressing the
QSave B button.
6. Compare those settings back to the factory preset by pressing QSave A.
7. When you are happy with your changes you can commit them to a user preset
by using the Save preset dialog that was covered previously.
The QSave A and QSave B buttons may also be used to compare the sound of two
different sets of user settings. To do this:
1. Load the preset that you want to change, then make changes to it and press
QSave A to save those settings to buffer QSave A.
2. Make additional changes as desired and then press QSave B to save those additional changes to buffer QSave B.
3. Now you can compare the two sets of settings by toggling back and forth between
the QSave A and QSave B buttons.
4. When you are pleased with one set of settings and need more buffers for further
tweaking, you can use the A=B/B=A button to make the two buffers the same
and have one of them to use to start comparing from again.
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Title Bar Region
As was hinted at in the section of the manual pertaining to configuring and selecting
devices, the Aura8ip Pro GUI is capable of controlling hundreds of Aura8ip units on
the same connected network.
Along the top edge of the Aura8ip Pro GUI screen and between the “Vorsis Aura8ip
Pro” product label on the left and the Windows About/Minimize/Exit icons on the right
are four status indicators and controls for the management of devices and presets.
The first is a small button with embedded green indicator. This button is used to put
the Pro GUI online to an Aura8ip device. When the indicator is green the Pro GUI is
connected to, and is controlling, the selected Aura8ip device.
Status
When a connection is attempted, made, or disconnected the Status window will
display the status of this action. When the display indicates Offline no connection to
an Aura8ip device is being attempted.
When the Status window indicates Trying the Pro GUI is in the process of establishing a connection to a remote Aura8ip device. As long as the status is Trying the device
has been found but full communications has not been established.
When the Status window indicates Online, the Pro GUI is in command of the connected device
Devices
This window indicates what device has been selected for control from within the
Devices dialog covered earlier. If no device is displayed, or if it indicates “Unknown”
then no device has been configured or selected in the Devices dialog.
Presets
This window shows the currently running processing preset. If the text is displayed
in green, all parameters that were originally saved with the preset are still active and no
changes have been made to any of the settings. If the text is displayed in orange, then
one or more parameters in the current preset has been modified and the new settings
have NOT yet been saved as a new preset. If the text is displayed in orange and a new
preset is taken, any changes preset in the previous preset are lost forever. This may or
may not be the desired action – be careful!
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Aura8ip Pro GUI
Accessing Menu Option
Right clicking anywhere on the Vorsis Aura8ip Control Panel will open a pop up
menu tree with access to the File, Hardware, and Presets choices. These choices then
lead to sub-menus and dialog boxes that may also be accessed by clicking on other
dedicated buttons on the main Vorsis Aura8ip control panel.
As with many Windows programs, there are multiple ways to access the menu
trees – please feel free to go ahead and explore.
File Menu Items
About – brings up the About box to indicate the Pro GUI software version.
Choose Skin – brings up the Choose Skin dialog box. Skins in Vorsis processors
are Pro GUI overlays which alter the look of the Pro GUI. It could be color, shape,
or other aspects of the Pro GUI which change when skins are changed.
Exit – Closes the entire Pro GUI (not just the dialog window).
Hardware Menu Items
The Hardware menu tree may be accessed by right clicking anywhere on the main
Aura8ip Control Panel. Please note that most of the hardware-related items cannot
be reported unless the Pro GUI is online to the hardware (this is where the data must
come from!).
Sub menu choices include:
Devices... – opens the Devices dialog box which allows the creation, editing, selection, and deletion of Vorsis processor devices that are known to the Pro GUI.
On-Line Mode... – toggles between ONLINE and OFFLINE modes. In offline
mode the Pro GUI is not connected to the processor but can still take presets and
have their settings viewed.
Login Password... – opens the Passwords dialog box for creating and editing login
passwords.
Version... – displays the current software and firmware versions that are installed and
running on the Aura8ip hardware, noting that the only time you can view the hardware
versions from the Pro GUI is if it is actually connected and online to the hardware.
Presets Menu Items
The Presets menu tree may be accessed by right clicking anywhere on the main
Aura8ip Control Panel.
Take... – performs the same action as clicking the Preset button.
Save... – performs the same action as clicking the Save button.
Library... – performs the same action as clicking the Library button.
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