Audison BIT ONE HD VIRTUOSO Product Information

High Denition Signal Processor

PRODUCT
INFORMATION

Elettromedia 2019

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High Denition Signal Processor

Product Information 1

Elettromedia 2019 1

BIT ONE HD VIRTUOSO 3
NEW FUNCTIONS AND IMPROVEMENTS 5
FOCUS ON NEW ROUTING CAPABILITIES 7
EXCEEDING THE LIMITS IMPOSED BY PHASE ROTATIONS 8
FLOATING-POINT SHARC DSP 9
PARAMETRIC EQ 10
3 EQUALIZATION STAGES 10
AUDISON RVA (REMOTE VOLUME AUX) 11
AUDIOPHILE AND OEM INTEGRATION SETUP TOGHETER AT THEIR BEST 12
IMPROVED DE-EQ INTRODUCING PHASE ANALYSIS 13
AUDISON BIT TUNE AUTO TUNING 14
CONNECTIVITY 15
DRC MP - DIGITAL REMOTE CONTROL MULTIMEDIA PLAY 16

BIT GLOSSARY

pure digital signal
transfer with a
resolution up to
24 bit / 96 kHz

auto tuning
by Audison
bit Tune and
communication

with bit Drive
portal

Compensation of
the overall system
phase to recreate
the original signal,
even in case of OEM
sound enhancement
algorithms

Analog Device
SHARC™ series
chip with floating
point precision, to
reach the highest
audio quality

de-equalization
function to
“flatten” any
equalization

applied by

default by OEM
sources

POLARITY

CHECK

High level inputs
polarity check
and automatic
correction
in case of
inversion

linear phase
lters and
equalizer,
for a new
in-car listening
experience

Input delay
compensation
of time-delayed
factory outputs
prior to signal
summing

USS technology
allows bit
processors to
work with head­units featuring
the “speaker load
detection” circuit

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BIT ONE HD VIRTUOSO

12

IN

-

13

OUT

Just as the virtuous performer holds the absolute mastery of
the instrument and the technique connected to it, the bit One HD
Virtuoso features unique skills dedicated to the most ambitious
OEM Integration projects and excels in the uncompromising Hi­End systems.
This was made possible thanks to innovative functions born with
the new software / rmware development and the upgrade of
some key components in the audio signal path, which are crucial
to reach new heights of listening pleasure.

BIT PLAY HD

bit One HD Virtuoso allows the creation of an Audison Full DA
HD (Full Digital Audio HD) system where the audio signal is
transmitted digitally from the Hi-Res audio player to the Audison
ampliers equipped with AC / AD link inputs, preserving every
nuance with maximum purity.

AV5.1K HD

VIRTUOSO

OPTICAL AD LINK

DIGITAL 24 BIT / 96 KHZ

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AUDIOPHILE COMPONENTS

The use of these high rated components contributes to obtaining more musical
medium-high frequencies and a powerful and fast low range when the analog

outputs of the bit One HD Virtuoso are used.

1. SILMICseries ELNA capacitors specic for audio use, with cellulose dielectric
treated with silk ber to mitigate the mechanical energy that comes from the bit One

HD vibrations, a common condition for in-car use. The result is a superior acoustic
performance.

2. WIMA high performance Metallized Polypropylene lm capacitors featuring
extremely low dissipation factor and dielectric absorption, to ensure extra clean and
dynamic high-frequency reproduction.

3. High-Performance Burr Brown OP Amps OPAx134 SoundPlus ™ series specic for
absolute level audio applications, characterized by very low distortion / noise and
a high response rate without saturation, features that increase the dynamic range
and listening realism.

4. Cirrus-Logic CS4365 6-channel and CS4385 8-channel 24 bit / 192 kHz DA
converters with 114 dB signal-to-noise ratio and the possibility to choose between

two slow / fast digital lter responses to customize the listening experience at best.

12

1

3

2

4

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NEW FUNCTIONS AND IMPROVEMENTS

The constant work of the Audison development team has
produced the new software / rmware release v.2.0 * in order to:

1. Strengthen the integration with the latest generation OEM
systems and at the same time raise the performance level
of Hi-End systems with a “purist” approach in Full DA HD

conguration

2. Offer even more powerful signal processing tools to

specialistsincludingnewtypesoflters

3. Make the use of PC-Software even more immediate through a
renewed GUI that facilitates the work of specialists

* The SW / FW v.2.0 is compatible with any HW version of the bit
One HD Virtuoso and with any DRC MP.

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A) Only one FW to support both FIR and IIR digital networks.

You can choose FIR or IIR version without the need to update the
FW as for the previous release. The SW 2.0 is compatible with
both network lter types and is also designed for remote control
via an additional Wi-Fi module.

B) AddedPass-throughinputconguration(MASTER)

you can now choose between 2 approaches for the input setup:

1. Automatic routing: consists on the traditional Audison I/O
routing approach, applicable to both OEM integration (hi-level)
or After-market (low-level) scenarios, and it is based on signal
summing, signal reconditioning & flattening. With this setup
type, automatic algorithm options named DE-EQ / DE-Phase,

Compensation of TA, Polarity check and Auto Input Switch can be
selected.

2. Pass-through: consists on an alternative I/O routing approach
dedicated to OEM sound systems (hi-level), that is literally based
on “pass-through” the existing OEM infotainment’s output
channels (connected to bit One HD Virtuoso’s speaker level inputs)
to the bit One HD Virtuoso’s outputs. The SW doesn’t perform any
signal summing and front reconditioning or flattening. However,
the factory output channels are analyzed by the SW, that is able
to identify bandwidth and factory TA. All this information is
displayed in the input analysis dashboard, and can be evaluated
and manually compensated by the user, thanks to the new SW
sound tuning capabilities (EQ lters).

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FOCUS ON NEW ROUTING CAPABILITIES

PASS-THROUGH VS AUTOMATIC

When addressing scenarios of OEM audio systems integration,
the two approaches described above both have PROs and CONs.
Benets and limitations must be assessed in the design and
testing phases on the target system.
Automatic routing is the simplest and most automated and
provides the ability to reduce the complexity of the system to the
ideal stereo case or managing systems up to 5.1 fronts (front (L,
R), rear (L, R), central and SUB). This approach generally works
well in factory systems that are not too complex and / or not
altered by algorithms to emphasize sound. In such cases, the
reconstruction of the stereo fronts (sum of the limited signals in
the band) and subsequent compensation (time alignments) and
flattening (in form and phase), brings optimal results and allows
the user to redesign the system outputs arbitrarily.

Pass-through is more suitable when OEM systems are heavily
altered by audio algorithms to increase the perception of audio
quality (referred to by car manufacturers as 3D, surround, spatial,
etc.). Thanks to the direct connection between input and output,
the pass-through approach allows the conguration of the
original audio system to remain unaltered, supporting systems
up to 7.2 (PASS-THROUGH) and even beyond (EXTENDED PASS
THROUGH). In such cases, the SW does not make any sum of the
input channels, it alters its characteristics (it does not carry out
the de-equalization), exploiting the greater power (amplication),
efciency (speakers) and control (DSP, limited to EQ and TA) to
improve the audio performance of the standard system. The SW,
however, carries out an analysis of the input signals very useful
to the user during the setup phase, displaying the time delays
and cut-off frequencies of the OEM system without the use of
measuring instruments.

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IMPROVED DE-EQ
INTRODUCING PHASE ANALYSIS

The SW performs the spectrum analysis and flattens it by doing
the magnitude DE-EQ automatically. Additionally, the new SW
detect the electric polarity of each input channels and, in case
of inverted polarities asks the user whether to correct them
automatically or manually.
The new SW also allows the correction of its phase domain
response when the user enables the “Phase analysis” option flag.
In this case, the presence of OEM All-pass lters will be detected
and the algorithm’s routine will try to correct them automatically.
A new input analysis dashboard screen has been added and it
shows:
a) Results (graphs) from the previous analysis (DE-EQ, DE­Phase, DE-TA) for each input emission front (FRONT L, FRONT R,
REAR R, REAR L, CENTER, SUB), in case of AUTOMATIC ROUTING
INPUT SETUP.
b) Results (graphs) from the previous analysis (EQ, TIME
ALLIGNMENT) for each input channel in case of PASS THROUGH
INPUT SETUP.

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Hz

20 30 50 70 100 200 400 700 1k 2k 3k 5k 7k 10k 20.0k

dB

dB

Hz

20 30 50 70 100 200 400 700 1k 2k 3k 5k 7k 10k 20.0k

deg

Hz

20 30 50 70 100 200 400 700 1k 2k 3k 5k 7k 10k 20.0k

FIR CROSSOVER FILTERS

IIR digital lters faithfully simulate analog lters (active or
passive), approximating phase and frequency behavior. Like
their analog equivalents, they are affected by unavoidable phase
rotations at the cut-off frequency, which are different based on
the type of curve used (Butterworth, Linkwitz, Bessel), however
still perceived when listening.
In practice, for instance, a fourth-order low-pass IIR lter (24 dB /
Oct) at 200 Hz cut-off, plus a high-pass symmetric lter, results in
a phase rotation ranging from 0 to -360 degrees along the whole
audio spectrum. This phase alteration
affects the perception of the sound image, which highlights
inaccuracies in terms of coherence and stability. Think of a 3-way
system where the door-mounted 18 cm woofer is 400 Hz crossed
with the middle-range, installed on the a-pillar next to a tweeter,
itself crossed with the middle-range at 5.000 Hz, using crossovers
with IIR lters. The system phase alteration reduces the focus of
the instruments on the virtual stage. For this reason, a number of
audio enthusiasts prefer to adopt 2-way systems with a woofer
and tweeter crossing at 2.500 Hz with a slope of 6 dB / Oct, so
as to limit phase rotations as much as possible. This solution,
however, presents a number of signicant disadvantages, mainly

CROSSOVER FIR FILTERS

+10

+5

0

due to increased distortion and lower tweeter power. With a
slope of only 6 dB / Oct., the music signal around the cut-off
frequency is simultaneously generated by tweeters and woofers
to a considerable extent. Since a tweeter and a woofer have
very different electro-acoustic parameters, the sum of the two
emissions does not produce clear output signals, which results in
less clarity in the reproduction of musical transients.

FIR EQUALIZATION (Finite Impulse Response)

dB

+10

+5

0

-5

-10

+90

0

-90

FIR

Phase Magnitude

IIR

Image 4: electric frequency response simulation (module and phase)
of low-pass Linkwitz-Riley fourth order crossover (24 dB/Oct) summed

with a symmetrical high-pass featuring a 200 Hz cut-off frequency. IIR
lters (in black) and FIR lters (in blue).

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-5

-10

0

Phase Magnitude

20 30 50 70 100 200 400 700 1k 2k 3k 5k 7k 10k 20.0k

Image 5: electric frequency response simulation (module and phase),

of the two poles of the parametric equalizer featuring IIR lters
(in black) and FIR lters (in blue).

FIR

IIR

Hz

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EXCEEDING THE LIMITS
IMPOSED BY PHASE ROTATIONS

Similarly, to crossover lters, graphic and parametric equalizers based on IIR lters
alter the signal phase behaviour with signicant effects on audio quality. A heavily
equalized signal is characterized by an unclear stereo image and lack of transients
denition. Audiophiles often classify this feeling as a veil that blurs the musical
message and deprives it of the necessary emotion. The use of FIR lters guarantees
an important result: the phase behaviour is linear, free from rotations or indecisions.
This also makes the use of lters with a very high slope (up to 48 dB / Oct) possible,
without altering the phase response. Such a high slope for the lter enables the
midrange and tweeters mounted on the a-pillar to work at lower frequencies without
any issues with power handling, thus raising the emission front. Therefore, thanks
to the FIR lters the advantages of three or multiple-way systems are completely
exploited taking in-car listening experience to a different level. When listening, a
system that uses FIR lters provides great clarity in transients reproduction, such as
the acoustic piano hammer strikes or the drums. The stereophonic image is deeper
and denite. Instruments in the virtual stage are more focused and seem to have
more space between them.
Even the intervention of any equalizer over the frequency response, when available in
FIR technology, does not modify the audio signal phase, allowing more precise and
detailed corrections without conditioning the audio quality.

FLOATING-POINT SHARC DSP

FIR lters therefore provide a better audio quality. So why are they
used only by the bit One HD Virtuoso? Implementing a FIR lter
requires the DSP chip to work with an enormous array of numbers
and with much more complex calculations, and is therefore much
more burdensome than the one of an IIR lter. As a result, the
DSP Analog Device entry level chips of the "Sigma" family other
audio processors are built with do not allow FIR lters to be used
because the DSP chip does not have enough computing resources
to handle this and other features. In addition, the processor
control software that uses the SIGMA chips is generated using
the "Sigma Studio" graphic interface, which provides a series of
pre-set audio codecs to the developers and none of these codecs
have FIR ltering. The bit One HD Virtuoso is the only digital audio
processor for automotive use equipped with the SHARC series
Hi-End Analog Device Processor ADSP-21489. This processor
works with a 32-bit floating-point computing unit, a feature that
provides it with a dynamic range far superior than the inexpensive
xed-point "Sigma" used by other processors. However, the higher

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computational power and precision of the SHARC series DSPs
requires expert hands to be exploited to the full. It is not enough,
as in the DSPs of the "Sigma" family, to use the supplied codecs.
That is why a development team with a deep understanding
of algorithms programming for digital signal processing is
needed. The experience in programming SHARC processors
that the Audison development team has built since 2006, with
the implementation of the bit One, has made it possible to reach
a new level of audio quality for the bit One HD Virtuoso. A new
software allows the user to exploit the whole power of the SHARC
processor by employing FIR lters on a 9-channel output platform
enabling the creation of high-performance audio systems up
to 4-way + subwoofer. The result is a quality of sound signal
processing which is deeply different from any other DSP. This
unique listening experience is achieved thanks to the excellent
work of the development team and to the state-of-the-art SHARC
DSP, raising audio quality to a level never reached before.

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PARAMETRIC EQ

In professional audio parametric equalizers have long since replaced the graphic ones for their greater precision of intervention as well
as a considerable decrease in phase alterations. In fact, in graphic equalizers, to flatten a response curve, one is almost always forced

to use almost all of the 31 intervention points offered, but each band introduces a phase shift that is added to the adjacent one, with the
result of creating rotations on the whole spectrum. With a parametric equalizer, in most cases two or three points of intervention with a
precision of a single hertz are sufcient, which thanks to the adjustment of the Q factor width allow you to model the curve to your liking.

3 EQUALIZATION STAGES

Thanks to the processing power the bit One HD Virtuoso provides
the user with three parametric equalizers that intervene in
different points of the sound processing path. It is important to
note that all three equalizers can be disabled or enabled at will.

1. CHANNEL EQ: it is the block used to flatten the emission
of all the speakers of each front that should be adjusted with
the most linear source possible (optical digital AUX input).
Highlighting the corresponding curve, the Channel EQ allows
you to hear the sound of the corresponding speaker. For each
emission front or single channel the EQ provides 11 parametric
poles and 2 FIR shelving type lters. To flatten the emission at the
crossing points you can use all-pass lters and notch type lters
to suppress any resonances in the passenger compartment. In
the FIR conguration, 8 parameter lters are available, a Hi-Shelf
(FIR), a Lo-Shelf (IIR) and two parametric points (IIR, full band)
that can also be used as notch.

2. INPUT EQ: it is the equalizer that is used to manually flatten
the selected input that can be strongly altered as in the case of an
OEM Head-Unit with an equalization preset by the manufacturer.
This equalizer block is useful for levelling out the sound
differences between the sources as in the transition from a Hi­Res (already linear) player and an OEM Head-Unit connected to
the master input. In this case the user avails of 8 + 1 parametric
intervention points (FIR) + 1 Hi-Shelf (FIR) and many additional
features such as:

i. Free selection of input fronts (FRONT L, FRONT R, REAR R,
REAR R, CENTER, SUB) in order to unlink the input EQ. User can
decide to keep the “All Fronts” default setting to apply the same
input EQ, or by de-flagging this option, to work on each input
independently.
ii. All-pass lters (2nd order) for each input front (FRONT L,
FRONT R, REAR R, REAR R, CENTER, SUB) that can be free tuned
(Fc, phase) by the user to linearize OEM phase algorithm.
iii. Quick sensitivity level adjustments 3 stages (ref, +3dB, +6dB),
to boost input sensitivity and gain headroom when musical tracks
are recorded quite below 0 dBFS (low). This function will be also
available on DRC MP.

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3. MAIN EQ: it can be used at will to personalize the system overall response curve, customizing it for different musical genres POP /
ROCK / CLASSIC and JAZZ or depending on the passengers inside the car, in combination with the setting of time delays, using different
memory presets.
The user can avail of:
i. 4 PEQ (FIR) + 1 PEQ (IIR, up to 100Hz) + 1 high-Shelf (FIR)
ii. Selection of slow/ fast roll settings of DAC converters to change the output lter settings of the bit One HD Virtuoso’s DAC device
(Analog outputs).

AUDISON RVA

The bit One HD Virtuoso further improves its integration level with OEM Head Units with the RVA function.
This exclusive technology provides the ability to select an auxiliary source (I.e.: a HI-Res audio player or auxiliary wireless interface
connected by digital inputs) and adjust its volume via the OEM Head Unit, offering full support to the management of the car priority
signals such as parking sensor alerts, GPS messages, phone and vocal commands whilst music is played through the auxiliary source.

This function can be enabled in two ways:

1. By connecting a jack cable to the OEM Head Unit analog AUX IN and to the bit One HD RVA connector

2. By storing the "RVA TONE TEST" le on a USB key or SD card (depending on the car model) and activating the function from the Head
Unit with the selection of the storage device via the AUX IN button.

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AUDIOPHILE AND OEM INTEGRATION
SETUP TOGHETER AT THEIR BEST

The bit One HD Virtuoso is provided with advanced features for the integration with OEM infotainment and a purely audiophile vocation.
The ability to independently congure the equalization for the MASTER and AUX inputs allows the user to create two separate systems
without using different memory presets, the one dedicated to listening to the OEM Head Unit and the audiophile one to achieve maximum
audio performance, inbothcasespreservingalltheHeadUnitfunctions(gongsignal,alert,phone...).
Let's see how it is possible.

OEM INTEGRATION ON MASTER INPUT

Imagine owning a car with the latest generation infotainment
system, equipped with complex sound processing algorithms. In
these cases the best results are obtained using the EXTENDED

PASS THROUGH conguration which does not mix the input

signals. The OEM channel audio band can be divided into multiple
bands with crossover lters, preserving the operation of pre­existing algorithms (phase) in the OEM source. The bit One HD
Virtuoso allows you to create a totally different conguration for
the AUX inputs, aimed at maximizing the output linearity of high
resolution audio devices. Let's see how.

AUDIOPHILE SETTING ON OPTICAL AUX
INPUT

The high quality digital signal of a high
resolution portable reader does not require
any linearization, therefore for the AUX
input we set the crossover lters, the time
delays and the CHANNEL EQ to obtain a
rigorous audiophile setup.
When we switch from the MASTER input to

the OPTICAL AUX input we switch from the
OEM Integration system to the audiophile
one. In addition, with the RVA technology

(RemoteVolumeAux), the transition from
MASTER to AUX can be carried out using

the AUX button of the OEM source and
from this adjust the volume, combining

total integration with the audiophile setup,
preserving all the Head-Unit functions
(gong signal, alert, phone ...).

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AUDISON BIT TUNE
AUTO TUNING

Audison bit Tune is the auto-calibration system for bit One HD
Virtuoso for the setup of basic parameters (time alignment,
equalization, levels, etc.), ensuring a correct acoustic result in
a very short time. The bit Tune automatic routine also includes
the diagnosis of common connection “errors” (channels/phase
inversion, no signal from a channel/cable, etc.), to set the
specialist free from his “routine” work and allow him to focus on
the art of “ne-tuning” while listening.

Thanks to the new PERCEPT ENFORCE AUDIO function it is
possible to model the total system response proposed by the bit
Tune auto-eq as desired.

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CONNECTIVITY

The bit One HD Virtuoso is equipped with two optical digital inputs (TOSLINK) to connect the bit DMI interface to the processor
simultaneously, allowing the user to extract the digital audio signal from an OEM system equipped with factory MOST bus and from an
Hi-Res player. The 12 analog along with 2 auxiliary inputs make it compatible with any OEM system and the 13 output channels, both
analog (RCA) and digital equipped with double AD LINK connector, provide the ability to create very complex full-active systems.

OEM INTEGRATION SPECIAL FUNCTIONS

The bit One HD Virtuoso further improves its integration level with
OEM head units, offering full support to the management of the
car priority signals such as parking sensor alerts, GPS messages,
phone and vocal commands whilst music is played through an
auxiliary source such as a Hi-Res audio player. The functions
listed below further enhance the processor’s control capabilities.

RVA(RemoteVolumeAux)

This exclusive technology allows to select
an auxiliary source (ES: an HI Res audio
player connected by digital inputs) and
adjust its volume via the OEM Head Unit.

CONTROLS

External service terminals to select the
presets as well as the OPTICAL 1, OPTICAL
2 and AUX inputs.

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DRC MP - DIGITAL REMOTE
CONTROL MULTIMEDIA PLAY

The DRC MP supplied with the bit One HD Virtuoso features a
reduced size and a total black look with possibility of customizing
the RGB light of the volume control as well as the keys. A Joystick
has been added to the volume knob, providing the ability to
intuitively browse the menu, adjust the display colour and
brightness and also control a bit Play HD that may be connected
to the processor.
The display features black background with white characters, for
maximum readability also at daytime, and a brightness sensor, for
the automatic setup of the Night&Day function.

Image 13: DRC MP (Digital Remote Control
Multimedia Play supplied with bit One HD)

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It is possible to select
forty-two different colours

on the keyboard.

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POWER SUPPLY

Nominal power supply voltage / Fuse 11 ÷ 15 VDC / 2A

Pulse operating voltage 6,5 ÷ 17 VDC

Idling current 0.75 A

Switched of f witho ut DRC M P 2 mA

Switched of f with DRC MP 5 mA

Remote IN 4 ÷ 15 VDC (1 mA)

Remote OUT 4 ÷ 15 VDC (130 mA)

ART - Automati c Remote Turn on/of f
from OU TPUT BTL spe akers

1.5 ÷ 7 VDC

SIGNAL STAGE

Distortion-THD@1kHz,1VRMS

Output

Bandw idth @ -3 dB 10 Hz ÷ 44 kHz

S/Nrat io@Aweig hted,4VOutput,2V

MASTER input

S/Nrat io@Aweig hted,4VOutput,2V

AUX input

S/Nrat io@Aweig hted,4VOutput,

OPTICAL IN1/IN2 input

Channel Separat ion @ 1 kHz 80 dBA

Input s ensitivit y PRE IN / M aster 1.3 ÷ 9 VRMS

Input s ensitivit y Spea ker IN / Master 5 ÷ 32 VRMS

Input sensitivity AUX 0.7 ÷ 5 VRMS

Input i mped ance S peake r In / AUX /
Pre In

Max Ou tput Level 0.1% THD 4 V

0.004 %

104 dBA

105 dBA

110 dBA

15 kΩ (Pre IN / AU X) 5 Ω (Speaker I N)

INPU T S TAGE

Lowlevel( Pre) Ch1 ÷ Ch6; AUX L /R

HighLevel(SpeakerIn) Ch1 ÷ Ch12

Digital 2 x Optic al S/PDIF; Max 192 kHz/24 bit

OUTPUT STAGE

Lowlevel( Pre)

Digital AD Link 1 Ch1 ÷ Ch8 (IIR / FIR mode)

Digital AD Link 2

Ch1 ÷ Ch13 (IIR mode); Ch1 ÷ Ch 9
(FIR mo de)

Ch9 ÷ Ch13 (IIR mode); Ch9 on ly (FIR
mode)

CONNECTION

From / To Personal Computer 1 x micro USB

ToAudisonA mpli ers 2 x (AC Link / AD LINK ) control bus

To Audison DRC MP 1 x AC Link

CROSSOVER

Filter type Full / High-Pass / Low-Pass / Band-Pass

Linkwitz @ 12 / 24 / 36 / 48 dB

Filter mode and slope

Crossover Frequency

Phase control 0° / 180°

Butterworth @ 6 / 12 / 18 / 24 / 30 / 36 /
42 / 48 dB

Bessel @ 6 / 12 / 18 / 24 / 30 / 36 dB

FIR @ 6 / 12 / 18 / 24 / 30 / 36 / 42 / 48 dB

Lo-Pass: 0 ÷ 44k Hz (1 Hz step)
Hi-Pass: 0 ÷ 20k Hz (1 Hz step)

EQUALIZER (10 Hz ÷ 20 kHz)

HighLevelInputs(SpeakerIn)

AUX Input

OPTICAL IN1/IN 2 Inputs

OUTPUTS

MAIN EQ

Dynamic Equalization

Bass Boost

Automatic De-Equalization, Delay
Compensation, All Pass Compensation,
Polarity check

Parametrics Equalizer: +12 dB ÷ -15 dB; 10
poles FIR type

Parametrics Equalizer: +12 dB ÷ -15 dB; 10
poles FIR type

IIR mode: N.13 Parametrics Equalizers: +12
dB ÷ -15 dB; 13 poles

FIR mode: N.13 Parametrics Equalizers:
+12 dB ÷ -15 dB; 9 poles FIR type + 3 poles
IIR type

Parametric Equalizer: +12 dB ÷ -15 dB; 5
poles FIR type + 1 pole IIR type

Self-adjusting System between low and
high listening levels

Adjustable parametric pole (±12 dB; 10 ÷
500 Hz)

TIME ALIGNMENT

Distance 1.4 ÷ 756 cm / 0.6 ÷ 297.7 inches

Delay 0 ÷ 22 ms

Step 0.04 ms, 1.4 cm, 0.6 inch

GENERAL REQUIREMENTS

PC connections USB 1.1 / 2.0 / 3.0 Compatible

Software/PC requirements

Video Resolution with screen resize min. 800 x 600

Ambient operating temperature range 0 °C to 55 °C (32°F to 131°F)

Microsoft Windows (32/64 bit): XP, Vista,
Windows 7, Windows 8, Windows 10

SIZE

W(Width)xH(Height)xD(Depth)

mm/inch

Weight kg/lb 1.775 / 3.9

148 x 43.6 x 233 / 5.82” x 1. 7” x 9.17”

All specications subject to change without notice_19.A

Elettromedia

62018 Potenza Picena (MC) Italy
T [phone] - F [phone]
elettromedia.com

17

Elettromedia
web site

Elettromedia, an Italian company, is a leader within the world-wide car Hi-Fi market.
Born in 1987 in Potenza Picena by a group of friends who shared the same passion for in-car
high delity, throughout the past years Elettromedia has been walking the path of excellence: its
products are distributed in more than 50 countries; the company has received many awards and
acknowledgements from the most authoritative leaders within the car audio industry; it also can
boast reviews of more than 3000 pages published in 30 different languages
(visit: https://www.elettromedia.com/media-centre/press-review/).
The Elettromedia brands are Audison, Hertz and Connection. Through a co-branding strategy,
the company offers all of the components required for a complete, top-level car audio system.
Since 2008, Elettromedia has a joint venture with Lavoce Italiana a company specialized in
loudspeaker design and production for the professional audio industry.

Contacts: Elettromedia s.r.l.

StradaReginakm3,500-62018PotenzaPicena(Mc)-Italy

T [phone] - F [phone] - elettromedia.com

AWARDS

All specications subject to change without notice_17.B

www.audison.eu

PART OF ELETTROMEDIA

62018 Potenza Picena (MC) Italy
T [phone] - F [phone]
www.elettromedia.it