INPUT BALANCE allows you to compensate for the occasional source with audible channel imbalance. When selected, screen graphics indicate the relative left/right position.
LIVENESS adjusts the amount of recirculation within the effect. Higher values mimic more reflective surfaces in the simulated space and increase the amount of time it takes the sound to decay. At very high values, the decay is audibly less smooth than in the Church and Cathedral Effects, which are more effective at simulating very live spaces.
LOW FREQ WIDTH allows you to apply low-frequency spatial correction to the signal. Positive values of LOW FREQ Width indicate that the difference signal (L-R) has additional energy below 500Hz, while the sum (L+R) has correspondingly less. Negative settings of LOW FREQ WIDTH can com- pensate for recordings with too much of this property. This control can add needed spaciousness and warmth to classical recordings made with coinci- dent or near-coincident microphones.
MAIN LEVEL controls the level of the mono signal that is reproduced by the main speakers. When a center speaker is part of the configuration many films may sound better when this control is set between 6-12. This spreads the film sound out around the screen and can be more pleasant than restricting the dialog and much of the other film sound to the center speaker.
MID RT (midrange reverberation time) is the time required for midrange sounds to decay 60dB in level.
PRE-DELAY increases the delay between the direct sound and the onset of reverberation. Because some pre-delay is inherent in the program material, a value of 0 is usually a good starting point. Increasing the pre-delay value will make the hall sound larger.
RE-EQUALIZER equalizes the left, center, and right channel outputs to match the overall frequency balance of the original recording. Without this re-equalization, many films and some television programs will sound too bright.
REAR DELAY adjusts the amount of time between the appearance of a signal in the front channels and its emergence from the rear. Generally, the correct delay is about 16 milliseconds, but the setting depends on speaker set-up and source material. In general, the delay should be low enough so that the rear sound does not become identifiable as a distinct source. The settings also affect the side outputs.
