Trinnov Audio OVATION Owner Reference Manual

OVATION

CINEMA SOUND PROCESSOR

Reference

User’s manual

Rev: February 2018

Trinnov Ovation User’s Guide– February 2018 2/79

IMPORTANT SAFETY INSTRUCTIONS:

 Read these instructions. Keep these instructions.
 Heed all warnings. Follow all instructions.
 Unauthorised modification of this equipment is expressly forbidden by Trinnov Audio.
 Using the unit in the following locations can result in a malfunction:

 In direct sunlight,
 Locations of extreme temperature or humidity,
 Locations of extreme temperature or humidity,
 Locations of excessive vibration,
 Locations of excessive vibration.

 Condensation can form on the inside of an amplifier if it is moved from a cold environment to a

warmer location. Before switching the unit on, it is recommended that that the unit be allowed to
reach room temperature.

 Clean only with a dry cloth. Do not use liquid cleaners such as benzene or thinner, cleaning

compounds or flammable polishes.

 Do not block any ventilation openings. Be careful not to let metal objects get into the equipment.
 Install in accordance with the manufacturer’s instructions.
 Operating temperature: 0°C to 40°C. Relative operating humidity (without condensation): 20% to 80%.
 Protect the power cord from being walked on or pinched particularly at plugs, convenience

receptacles, and the point where they exit from the apparatus.

 Always replace damaged fuses with the correct rating and type.
 Unplug this apparatus during lightning storms or when unused for long periods of time.
 Refer all servicing to qualified service personnel. Do not open the equipment case.
 Use only the supplied power cord which is compatible with the mains voltage supply in your area.

Never break off the earth (ground) pin on the power supply cord.

TO COMPLETELY DISCONNECT THIS APPARATUS FROM THE AC MAINS, DISCONNECT THE POWER
SUPPLY CORD PLUG FROM THE AC RECEPTACLE.

This symbol is intended to alert the user to the presence of uninsulated “dangerous voltage”
within the product’s enclosure that may be of sufficient magnitude to constitute a risk of

electric shock to persons

This symbol is intended to alert the user to the presence of important operation and
maintenance (servicing) instructions in the literature accompanying the appliance

Trinnov Ovation User’s Guide– February 2018 3/79

Contents

1 INTRODUCTION ......................................................................................................................... 5

1.1 MAIN FEATURES OF THE OVATION .................................................................................................. 5

1.1.1 Equalization ........................................................................................................................................... 5

1.1.2 Active Crossovers ................................................................................................................................... 5

1.2 MAIN FEATURES OF THE OPTIMIZER MODULE ................................................................................... 6

1.2.1 Level and Time Alignment ..................................................................................................................... 6

1.2.2 Automatic Optimization ........................................................................................................................ 6

1.3 ACCESS LEVELS ............................................................................................................................... 6

2 GETTING STARTED .................................................................................................................... 8

2.1 POWER ON AND SHUTDOWN ........................................................................................................... 8

2.1.1 Power on ................................................................................................................................................8

2.1.2 Shutdown .............................................................................................................................................. 9

2.2 USER INTERFACE ............................................................................................................................ 9

2.2.1 Connection to the Ovation ..................................................................................................................... 9

2.2.2 Screenshots .......................................................................................................................................... 10

3 HARDWARE GUIDE ................................................................................................................... 11

3.1 FRONT PANEL ................................................................................................................................. 11

3.2 FRONT PANEL SCREEN ................................................................................................................... 12

3.3 REAR PANEL. ................................................................................................................................ 12

3.4 CONNECTIVITY. .............................................................................................................................. 13

4 STARTUP OPTIONS .................................................................................................................. 16

4.1 STARTUP MODES .......................................................................................................................... 16

4.2 NETWORK OPERATION................................................................................................................... 16

5 SYSTEM SOFTWARE GUIDE ..................................................................................................... 17

5.1 OPERATOR LEVEL ....................................................................................................................... 17

5.1.1 Home/Profile and presets .................................................................................................................... 17

5.1.2 Home/Meters ....................................................................................................................................... 18

5.1.3 Help/About ........................................................................................................................................... 19

5.1.4 Help/Log in / Log out ............................................................................................................................ 20

5.2 MANAGER LEVEL ......................................................................................................................... 22

5.2.1 Home/Profiles Config ........................................................................................................................... 22

5.3 CONSULTANT LEVEL ................................................................................................................... 25

5.3.1 Processor/Meters ................................................................................................................................. 25

5.3.2 Processor/Master ................................................................................................................................. 25

5.3.3 Processor/Inputs .................................................................................................................................. 27

5.3.4 Processor/Outputs ............................................................................................................................... 28

5.3.5 Processor/Output Delays ..................................................................................................................... 31

5.4 FULLADMIN LEVEL ...................................................................................................................... 32

5.4.1 Setup/Sources ...................................................................................................................................... 32

5.4.2 Setup/Speaker ...................................................................................................................................... 33

5.4.2.1 Bass Management ............................................................................................................................................ 33

5.4.2.2 Delay Lines ....................................................................................................................................................... 34

5.4.3 Setup/Active Xovers ............................................................................................................................. 35

5.4.3.1 Functionality .................................................................................................................................................... 35

5.4.3.2 Procedure ........................................................................................................................................................ 35

5.4.3.3 Manual settings................................................................................................................................................ 36

5.4.3.4 Automatic settings .......................................................................................................................................... 37

5.4.4 Setup/Clock .......................................................................................................................................... 39

Trinnov Ovation User’s Guide– February 2018 4/79

5.4.5 Setup/Sources Routing ........................................................................................................................40

5.4.6 Setup/Speakers Routing ...................................................................................................................... 41

5.4.7 Setup/Config Editor.............................................................................................................................. 42

5.4.8 Setup/Network .................................................................................................................................... 43

5.4.9 Setup/System Status ............................................................................................................................ 44

5.4.10 Presets/Presets 1-29 ............................................................................................................................. 45

5.4.11 Preset/Preset Info ................................................................................................................................ 45

5.4.12 Backup/Restore presets ....................................................................................................................... 46

5.4.12.1 Backup / Restore with a USB Key .....................................................................................................................46

5.4.12.2 Backup / Restore through the network (via FTP) ............................................................................................ 47

5.4.13 Optimizer Graphs ................................................................................................................................. 48

5.4.13.1 Commands and parameters ............................................................................................................................ 48

5.4.13.2 Visualisation ..................................................................................................................................................... 50

5.4.14 Optimizer Settings ............................................................................................................................... 50

5.4.14.1 Optimizer Settings/Runtime ............................................................................................................................ 50

5.4.14.2 Optimizer Setings/Settings .............................................................................................................................. 51

5.4.14.2.1 Optimizer Settings/Settings/Main settings ............................................................................................................. 51

5.4.14.3 Target curves ................................................................................................................................................... 52

5.4.15 Optimizer Settings/Runtime ................................................................................................................ 53

5.4.16 Optimizer Settings/Settings ................................................................................................................. 54

5.4.16.1 Optimizer Settings/Settings/Main Settings ...................................................................................................... 54

5.4.16.2 Optimizer Settings/Settings/Target Curve ....................................................................................................... 56

5.4.16.3 Optimizer Settings/Settings/Advanced settings .............................................................................................. 57

5.4.17 Optimizer Settings/Positions ............................................................................................................... 59

5.4.18 Optimizer Settings/Calibration ............................................................................................................ 61

List of measurement points: ............................................................................................................................................ 62

Measurements list: .......................................................................................................................................................... 63

5.4.19 Setup Wizard ....................................................................................................................................... 64

5.4.19.1 Step 1: ...............................................................................................................................................................64

5.4.19.2 Step 2: .............................................................................................................................................................. 65

5.4.19.3 Step 3: ............................................................................................................................................................. 68

5.4.19.4 Step 4: ............................................................................................................................................................. 69

5.4.19.4.1 Multi-amplification .................................................................................................................................................. 69

5.4.19.4.2 Mono-amplification ................................................................................................................................................. 73

5.4.19.5 Step 5: .............................................................................................................................................................. 75

5.5 REDUCING LATENCY ...................................................................................................................... 76

6 APPENDIX ................................................................................................................................. 77

6.1 ARBORESCENCE OF THE MENUS ...................................................................................................... 77

6.2 SIGNAL FLOW OF THE OVATION ..................................................................................................... 78

6.3 BYPASS ....................................................................................................................................... 79

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1 Introduction

Thank you for choosing a Trinnov digital audio processor.

This User Guide is organized in the following chapters:

 Introduction: describes the main features of the Optimizer,
 Getting Started: provides a step-by-step guide to set up your system and configure the metering

solution,

 Hardware Guide: describes the audio interfaces used in the Ovation, the 3D measurement

microphone, the different remote options and update/support procedure,

 Startup Options,
 System Software Guide: describes all the pages of the Processor module, the core software and

the loudspeaker/room optimization module,

 Appendix.

1.1 Main Features of the OVATION

The Ovation provides all the functionalities expected from a high quality and advanced digital audio
processor:

 routing and level settings of inputs and outputs
 word clock input and output
 remote control options via Ethernet network
 Presets/Profiles save, backup and restore
 peak level metering of inputs and outputs
 calibrated, global gain/volume adjustments
 monitoring controller

This allows to integrate the Ovation into any commercial cinema environment and to meet the highest
standards for sound quality and system flexibility and reliability.

1.1.1 Equalization

The Ovation is very useful including the Trinnov advanced technology Optimizer as it offers a
comprehensive set of tools to fine-tune the results of the automated correction. This is usually done by
using a separate acoustic measurements system to measure the results of the automatic optimization
and improve them.

Two different tools are offered:

 State-of-the-art FIR EQ: based on Finite Impulse Response filters, the Optimizer's FIR EQ allows

for accurate equalization without introducing additional phase problems.

 1/3-octave EQ: 31 band Graphic Equalizers are also provided in order to support established

methodologies and standards.

1.1.2 Active Crossovers

The Ovation features 2-ways, 3-ways and 4-ways active crossovers. Depending on the chosen audio
interface, these crossovers may be used on up to 24 output channels. This makes Ovation a
comprehensive equalization and affordable crossover solution for cinema sound systems.

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1.2 Main Features of the Optimizer module

The Optimizer Runtime and the Optimizer Toolbox are complementary. As a whole, we simply call it the
Optimizer. Its main features are as follows.

1.2.1 Level and Time Alignment

Based on its own acoustic measurements, the Optimizer automatically aligns the relative levels of each
loudspeaker, and applies delays to time-align the system. This can be disabled in the Optimizer

Settings/Runtime page, and may be configured separately for the front and surround loudspeakers in the
Optimizer Settings/Settings/Advanced Settings page.

The Optimizer also levels and delays of multi-amps speakers allonwing to have the best aligment of
speaker ways.

The Optimizer also calibrates the absolute level.

1.2.2 Automatic Optimization

The Optimizer uses state-of-the art time-frequency algorithms to analyze calibration measurements and
uses specific methods to compensate for direct sound, first reflections, late reflections/reverberation and
room modes. All the subtlety of the Optimizer resides in knowing which defects may be corrected without
creating additional problems.

 Improved Phase Response: the Optimizer corrects the frequency response of the speakers, both

in amplitude and phase. This means that the Optimizer corrects both the tonal balance to obtain
a neutral timbre for every speaker and it also works in the time domain to achieve a high
resolution stereophonic image with well-focused phantom sources.

 Target Curves: the Optimizer automatically defines the filters that will achieve the required

frequency response defined by a target curve. This is particularly useful in order to comply with
the X-Curve SMPTE and ISO standards. Phase and Group Delay targets may also be defined,
making the Optimizer a unique tool for sound system designers.

 Fine-tuning options: the Optimizer provides over 12 different parameters, such as maximum

boost/cut, to customize the behaviour of the room correction algorithms. This opens many
possibilities for fine-tuning the sound according to loudspeaker capabilities and listening tests.

1.3 Access levels

There is 4 access levels in the Ovation:

 Operator: default level when you power-on the machine. Normal use level,
 Manager: give access to Profiles configuration, need Login and password.
 Consultant: give access to global settings of the processor and Eqs on input and output channels.

Need Login and password.

 Administrator: highest access level, give access to all parameters of the machine and calibration

procedure. Level securized with Login and password.

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Default Login and password:

 Manager level: login = advanced1, password = advanced1,
 Consultant level: login = advanced2, password = advanced2,
 Administrator level: login = fulladmin, password =fulladmin.

Be careful with processor levels access and passwords. We recommend to change passwords
for new processors and keep the new ones confidential. You cannot modify Login.

NOTE: you always must type Login in lowercase. If you have passwords with upper and lowercase, you

must respect the character’s case.

Operator

Consultant

Administrator

Manager

Trinnov Ovation User’s Guide– February 2018 8/79

2 Getting Started

2.1 Power on and Shutdown

2.1.1 Power on

Important Note: don’t forget that the speakers/amplifiers should always be powered up last.

Before connecting the power cord (1) to the electric installation, make sure the rear panel Main Power
switch is « OFF » position and the front panel PC power switch is « O » position.

The rear panel Main power switch (2) always needs to be pressed first to supply the apparatus with
electricity.

The front panel power switch (3) shall then be used to start the apparatus. It should illuminate the PC
powered led after a few seconds. The back panel power switch always needs to be pressed first to supply
the apparatus with electricity.

During the boot sequence of the Ovation, the
following page appears on user’s screen:

The boot sequence ended, the operating page
appears on user’s screen:

NOTE: It is possible to set the screen’s contrast by turning the ‘Level’ knob while pushing
simultaneously on the ‘Back’ button.

1: power connector

220 - 240 VAC

50 Hz / 60 Hz

2: Main power

switch

3: Front panel

power switch

Trinnov Ovation User’s Guide– February 2018 9/79

2.1.2 Shutdown

Ovation requires pushing the Front panel power switch once to initiate normal shut down.
It is recommanded to wait 15 to 30s between firstly switching off the Front panel power switch and
then the Main power switch on the rear panel.

2.2 User Interface

2.2.1 Connection to the Ovation

There are two ways to interface Ovation processor with users:

 KVM (Keyboard/Vidéo/Mouse):

 Via VNC on Ethernet port :

These 2 possibilities can be combined and show the same views.

VNC procedure:

After installing on your laptop, launch VNC viewer (for example VNC-5.0.3-Windows.exe in the screenshots
below):

2. Launch the

connection

1. Type the

processor IP
address

Trinnov Ovation Calibration Guide - February 2018 Page 10/79

Confirm the connection by clicking on “Continue”:

Type the processor serial number on 6 digits: 000325 for the Ovation 325 for example. Serial number is
indicated on a sticker of the rear panel of the processor.

Then you will arrive to the Ovation GUI (General User Interface).

Ovation has a built-in VNC Server that allows you to fully control the processor from any VNC client host device
over the network.

In other words, VNC provides full control of the processor from a laptop (PC, Mac or Linux), smartphone or
tablet (iOS, Android, Blackberry, Nokia...).

2.2.2 Screenshots

Screenshots of the graphical interface can be stored during operation by pressing the “print screen” key on
a keyboard connected to the unit. These files then can be downloaded to a USB stick or through Ethernet.

3. Type the password =

processor serial number on 6

digits

4. Clic OK

Trinnov Ovation Calibration Guide - February 2018 Page 11/79

3 Hardware Guide

A wide range of hardware options makes the Ovation easy to integrate in your cinema’s environment. The
Hardware guide provides a description and technical specifications of the processor.
Ovation is equipped with the high performance Trinnov audio boards:

o The Trinnov Audio Core (TAC) is the central audio component inside the processor. It provides routing

of the audio between the physical inputs/outputs and the software, activation of the relays when
instructed by the user allowing safe shut-down, hardware source selection and clocking up to 192 kHz
when available.

o The Trinnov ADA4 is connected to the TAC, executes AD/DA conversions and offers 4I/Os analog

channels.

o The Trinnov DAC8 is connected to the TAC, executes D/A conversions and offers 8 analog outputs.

3.1 Front panel

Profile selection: direct access to the 4 first Profiles (Server, Non Sync, Mic, Alternative) with 4 dedicaced

push buttons. All predefined Profiles are accessible by turning the ‘SELECT’ knob and confirm with ‘ENTER’

button.

User’s interface buttons: access to the interface pages or back to the operating page with ‘MENU/EXIT’
button, value or choice confirmation with ‘ENTER, back to the previous page with ‘BACK’ button.

Output level controls: to adjust the global output level of the Ovation, please use the ‘LEVEL’ knob. To mute
all output channels use the ‘MUTE’ button.

Bypass button can be used to put the Processor in Bypass mode: desactivation of the Optimisation.

USB port can be used to save or load Processor config, presets and Profiles. Can be used in parallel of the

USB ports of the rear panel.

NOTE: it is recommanded to install the processor in the 19’’ rack with the 4 screws in the 4

holes of the front panel.

User’s

screen

USB

connector

Processor

bypass

PC

powered led

Output level

control

Profile selection

Front panel

power switch

Output
muting

Output level

(0.0 - 9.9)

User’s interface

select knob

User’s interface

function buttons

Trinnov Ovation Calibration Guide - February 2018 Page 12/79

3.2 Front Panel screen

NOTE: It is possible to set the screen’s contrast by turning the ‘Level’ knob while pushing
simultaneously on the ‘Back’ button.

3.3 Rear panel.

0dBFS level

-20dBFS level

-40dBFS level

Optimizer

status

Profile name

Input connector

Input format

Decoding

format

Input and Output meters

Preset

name

Sample rate

Output level:

0.0 - 9.9

PC powered

led

Peak level

indicator

Fuse

Serial

number

Main power

switch

Ethernet

network

USB

port

General Port

Input/Output

(option)

Serial

port

Digital inputs AES (1 – 8) + (9 – 16)

SPDIF

TOSLINK

(Server, Satellite, DVD, CD, etc …)

Monitoring

Stereo

Analog

input (CD)

VI: Visual

Narration

H/I: Hearing

Impaired

Analog

inputs

(1 – 8)

Line L/R

MIC 1/2

Power

connector

Keyboard

Video

Mouse

Analog outputs:

OUT 1 (1 – 8)

Options:

OUT 2 (9 – 16)

OUT 3 (17 – 24)

Calibration

Mics

connectors

Trinnov Ovation Calibration Guide - February 2018 Page 13/79

Digital inputs (sample rate: 44.1, 48 and 96 kHz):

 8 AES DCI channels extensible to 16 (option) via DB25 connector (Dig IN1),
 8 AES DCI channels extensible to 16 (option) via 2 x RJ45 connectors (Dig IN2),
 2 x AES via BNC connector (Dig IN 3, Dig IN 4),
 2 x SPDIF via RCA connector (Dig IN 5, Dig IN 6),
 1 x SPDIF TOSLINK (Dig IN 7).

Analog inputs:

 8 balanced inputs (ANALOG IN 1) via DB-25,
 8 balanced inputs (Calibration MICs) via 2 x RJ45,
 2 line level balanced inputs (LINE L-R) via 2 x XLR,
 2 unbalanced inputs (Ana IN2) via 2 x RCA,
 2 balanced microphone inputs via 2 x XLR (MIC 1-2) with phantom power.

Analog outputs:

 1 to 8 balanced channels (Analog OUT1, 1-8) via DB-25,
 Options:

o 9 to 16 balanced channels (Analog OUT2, 9-16) via DB-25,
o 17 to 24 balanced channels (Analog OUT3, 17-24) via DB-25,

 Hearing-impared: 1 unbalanced output via RCA (H/I),
 Visual Narration: 1 unbalanced output via RCA (VI),
 Auxiliary: 2 unbalanced output via 2 x RCA (Aux1, Aux2).

Other devices:

 GPIO port via DB25 (option),
 Ethernet (RJ45),
 USB port,
 KVM (keyboard/Video/Mouse),
 Serial port (DB9),
 Parallel port (DB25).

Ovation offer the following audio performance:

- A/D signal-to-noise ratio: 119 dB (A-Weighted)

- D/A signal-to-noise ratio: 118 dB (A-Weighted)

- 24 bits/96k support.

- Clock Recovery: jitter attenuation better than 50dB above 100Hz

3.4 Connectivity.

XLR wiring:

1: Ground

2: Hot (+)
3: Cold (-)

Trinnov Ovation Calibration Guide - February 2018 Page 14/79

Analog DB25 connectivity for Analog In1, Analog Out1, Out2 and Out3 (TASCAM scheme):

Mono-amplification and 35mm channels mapping:

NOTE:
L = Left
R = Right
C = Center
LFE = Low Frequency Effect
LS = Left Surround
LR = Right Surround
LB = Left Back
RB = Right Back

Bi and tri-amplification channels mapping:

Channel Speaker Connector Channel Speaker Connector

1 L low Analog out 1 1 L high Analog out 2
2 R low Analog out 1 2 R high Analog out 2
3 C low Analog out 1 3 C high Analog out 2
4 LFE Analog out 1 4 HI Analog out 2
5 LS Analog out 1 5 L mid Analog out 2
6 RS Analog out 1 6 R mid Analog out 2
7 LB Analog out 1 7 C mid Analog out 2
8 RB Analog out 1 8 VI Analog out 2

NOTE:

L low = Left low Freq. L high = Left high Freq.
R low = Right low Freq. R high = Right high Freq.
C low = Center low Freq. C high = Center high Freq.
LFE = Low Frequency Effect H/I = Hearing Impaired
LS = Left Surround L mid = Left medium Freq.
LR = Right Surroud R mid = Right medium Freq.
LB = Left Back C mid = Center medium Freq.
RB = Right Back VI = Visual narration

HI/VI RCA connectors and Analog OUT2 channels 4 and 8 are parallels. DB25 outputs are balanced and
RCA are unbalanced.

Channel Speaker Connector

1 L Analog out 1 / Analog in 1
2 R Analog out 1 / Analog in 1
3 C Analog out 1 / Analog in 1
4 LFE Analog out 1 / Analog in 1
5 LS Analog out 1 / Analog in 1
6 RS Analog out 1 / Analog in 1
7 LB Analog out 1 / Analog in 1
8 RB Analog out 1 / Analog in 1

Pin Signal Description Pin Signal Description

1 Channel 8 hot (+) 14 Channel 8 cold (-)
2 Channel 8 ground 15 Channel 7 hot (+)
3 Channel 7 cold (-) 16 Channel 7 ground
4 Channel 6 hot (+) 17 Channel 6 cold (-)
5 Channel 6 ground 18 Channel 5 hot (+)
6 Channel 5 cold (-) 19 Channel 5 ground
7 Channel 4 hot (+) 20 Channel 4 cold (-)
8 Channel 4 ground 21 Channel 3 hot (+)

9 Channel 3 cold (-) 22 Channel 3 ground
10 Channel 2 hot (+) 23 Channel 2 cold (-)
11 Channel 2 ground 24 Channel 1 hot (+)
12 Channel 1 cold (-) 25 Channel 1 ground
13 not connected

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Digital DB25 connectivity (Dig IN1):

NOTE: the 9 to 16 input channels are optionnals. It needs complementary cards and license to be
operationnal.

DB25 GPIO connectivity:

GPIO - DB25 FEMELLE

PIN

SIGNAL DESCRIPTION

PIN

SIGNAL DESCRIPTION

1

no connection

14

GPI 1 +

2

GPI 1 -

15

GPI 2 +

3

GPI 2 -

16

GPI 3 +

4

GPI 3 -

17

GPI 4 +

5

GPI 4 -

18

GPI 5 +

6

GPI 5 -

19

GPI 6 +

7

GPI 6 -

20

GPI 7 +

8

GPI 7 -

21

GPI 8 +

9

GPI 8 -

22

GPO 1

10

GPO 1

23

GPO 2

11

GPO 2

24

GPO 3

12

GPO 3

25

GPO 4

13

GPO 4

Each GPI is photo coupled and admit 5 to 24 volts. Each GPO is a relay contact non-polarized.

GPI 1: load profile 1 GPO 1: indicates bypass mode
GPI 2: load profile 2 GPO 2: unaffected
GPI 3: load profile 3 GPO 3: unaffected
GPI 4: load profile 6 GPO 4: unaffected
GPI 5: load profile 7
GPI 6: load profile 8
GPI 7: switching mute (activate or disable alternatively)
GPI 8: switching dim (activate or disable alternatively)

Pin Signal Description Pin Signal Description

1 Channels 15 & 16 hot (+) 14 Channels 15 & 16 cold (-)
2 Channels 15 & 16 ground 15 Channels 13 & 14 hot (+)
3 Channels 13 & 14 cold (-) 16 Channels 13 & 14 ground
4 Channels 11 & 12 hot (+) 17 Channels 11 & 12 cold (-)
5 Channels 11 & 12 ground 18 Channels 9 & 10 hot (+)
6 Channels 9 & 10 cold (-) 19 Channels 9 & 10 ground
7 Channels 7 & 8 hot (+) 20 Channels 7 & 8 cold (-)
8 Channels 7 & 8 ground 21 Channels 5 & 6 hot (+)

9 Channels 5 & 6 cold (-) 22 Channels 5 & 6 ground
10 Channels 3 & 4 hot (+) 23 Channels 3 & 4 cold (-)
11 Channels 3 & 4 ground 24 Channels 1 & 2 hot (+)
12 Channels 1 & 2 cold (-) 25 Channels 1 & 2 ground
13 not connected

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4 Startup Options

4.1 Startup Modes

Momentarily displayed before the access to the GUI
Some options can be activated in the following screen.

 Double speed mode: this option does not concerne Ovation units and should not be used.
 No default preset: forces the processor to use the built-in factory preset at startup, overriding the

default preset selected in the presets page.

After selecting these options, either "Audio Mode" or "Demo Mode" must be pushed to validate your
choice.

 Audio mode is the normal mode
 Demo mode shows the functionalities, monitoring and pages without having to connect the unit to

an audio source. This mode can simulate a calibration, even without microphone or loudspeakers
connected.

4.2 Network Operation

Software updates and support can be performed remotely by Trinnov provided that the processor is
connected to the internet and that outgoing connections to port 22 are open. Please note that any update
requires advance approval and manual intervention from an engineer at Trinnov Audio’s office in Paris.

When the processor is connected to Trinnov’s server, the Network Status in the Setup/Network page will
change to “Connected to Trinnov Audio Server”. For more information on network configuration, please
refer to 5.4.8 Setup/Network chapter.

If the processor is connected to a network, but the Network Status is “Local Network OK”, it means that the
Trinnov Server cannot be reached from your network. Please check the IP, DNS, Gataway and Mask
addresses in the processor and what’s needed in your network with your administrator.

Trinnov Ovation Calibration Guide - February 2018 Page 17/79

5 System Software Guide

5.1 OPERATOR level

OPERATOR level is the default level when the processor is powered on. This is the first and basic access level
of the Ovation. No Login, no password needed.

After boot sequence of the processor, user’s interface shows Home/Profile and presets page.

5.1.1 Home/Profile and presets

Loading preset doen’t need confirmation. Be sure of your choice before changing preset.

All available Profiles are shown in this page. The active Profile is in blue and indicated in the front panel screen
of the processor.

Only the 10 first presets are shown in this page. The Ovation can have a maximum of 29 presets. If the active
preset is in the 10 first, it will be indicated in blue in this page. Preset name and number are indicated in the
front panel screen.

PROFILE:

Profile includes parameters and all needed options for the room use. For example: “Server 5.1”,
“Conference”, Mics … Profiles are configurable in Home/Profile Config page from MANAGER level and above.

A Profile is always associated to a physical connector of the rear panel.
The Profiles can be the sames for all rooms and copied from one room to another.

Selection zone of

Profile. 18 Profiles
are available and
configurable.
Active Profile is in
blue.

Confirmation of
Profile choice will

be asked.

Selection zone of

one preset in the
ten first.
Active preset is in
blue.

Trinnov Ovation Calibration Guide - February 2018 Page 18/79

PRESET:

Preset is the result of a room calibration including acoutics measurement and computing with parameters.
Once the room is measured, it is possible to change parameters, compute new filtering and save new
settings in another preset. This allows to switch from a preset to another, listen to differents filtering and
make the best choice

In another way, a preset is unique, depens on the room measurement, accoutics and parameters choice
and can never be copied from one room to another.

A maximum of 29 presets are available in Ovation.
A preset is always associated to a Profile.

5.1.2 Home/Meters

Inputs and ouputs Vu-meters page, dBFS scale.

In case of channel Overload (Peak), the channel label will be in red until clicking on ‘Clear’ button.

Channel label

dBFS level value

Level
memorisation

Peak or

memorisation level

clear.

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5.1.3 Help/About

The Help/About page provides useful information about software and hardware configuration of your
processor:

 Version: the exact software version installed on your processor,
 Built: the date this software version was built,
 Product ID (and serial number) of your processor, required as a password when connecting via VNC,
 Microphone ID that your processor is configured to be used with.
 Soundcard: displays Trinnov Audio Core.
 Runtime mode: the current runtime mode of the Optimizer:

o “read & write” is the normal runtime mode,
o “read only” is displayed when the Optimizer was started in read only mode to avoid any

changes to the presets.

 License: the number of channels that can be processed in parallel (this depends on the Ovation

config that has been purchased: 8, 16 or 24),

 IP address (ethernet): IP address on the network.

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5.1.4 Help/Log in / Log out

Login page to access to any securised level. Can only be done at the OPERATOR level.

Logout from any level always bring you back to OPERATOR level.

1. Type the level Login: advanced1,

advanced2 or fulladmin

2. Click ‘OK’

If you don’t have

keyboard, use this
button to access to a
virtual keyboard to
type the Login.

3. Type the default

password or the one
you have choose.

4. Click‘OK

If you don’t have

keyboard, use this
button to access to a
virtual keyboard to

type the Login.

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Once logged at the desired level, a confirmation page is shown (ex. Fulladmin level below):

Changing level password:

Once you’ve typed the desired level Login (you cannot change Login), don’t type the level password, but:

1. click on ‘Change password’,

2. type the existing password of the level you want to change,

3. type the new password,

4. type again the new password to confirm,

5. click ‘OK’.

Be careful with levels passwords. Give the password to someone means that this person could
modify all the accessible parameters of the level. Keep the passwords in a secured place.

At any moment, you can go
back to the OPERATOR level

by clicking on « Logout »
button.

1

2

3

4

5

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5.2 MANAGER level

Access Login: advanced1. Default password: advanced1. Help page is the same as in Operator level.

5.2.1 Home/Profiles Config

Home page has a new tab: Profile Config.
The Home/Profile Config tab allows to configure all Profiles with 3 main zones:

Mutual zone

For all Profiles:

 Power on Volume: setting of the global outputs volume when processor is powered on. Set the

appropriate volume with ‘-‘ and ‘+’ buttons. Default value is 4.5 on 0.0 – 9.9 scale.

If the setting is changed, you must save the modification with ‘Save’ button. If not, the new value won’t
be memorized.

 Use last loaded Profile as power-on default Profile: must be selected if you want the Ovation to start

with the last used Profile before the powering off. This is the default setting.
Selecting ‘Power-on Default’ in a Profile config will unselect this option.

 Save: You need to press this button to apply and save the changes.

Be sure to save your new settings before loading another Profile. If not all settings will be lost.

Mutual zone

Select zone

Edit zone

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 Reload : this button has two functions:

- As indicated: ‘If profiles has been uploaded on the machine via the network (FTP), you have to

reload them on the processor with button right here’.

If you use USB stick to load Profiles, the list is automatically reloaded and you don’t have to
click on ‘Reload’ button.

- Reload the last Profile. All non saved modifications will be lost.

Select zone

Allows to select the Profile you want to edit.

You can use the (UP) and (DOWN) buttons to find the Profile you want to configure
in the vertical tab on the left side. The Profile button you are editing is grey.

Edit zone

For each parameter, an options list appears by clicking on the button on the right side on the screen:

 Name: clicking on the “Name…” button will display a virtual keyboard allowing you to change the

name of the profile.

 Input connector: used to associate a combination of physical inputs to the profile. As you recall the

profile, the audio core will initiate a hardware source selection that will also affect the source routing

matrix (Setup/Sources Routing).

 Optimizer preset: you can link a preset to a profile, thereby associating a hardware I/O routing to the

relevant correction filter.

If an empty preset is associated to a Profile, this Profile can be saved but when it will be loaded
the following message will appear: « Unable to load config file /var/config/[n°de preset] ».

Click on this button to
see available options

List of available

options. Ex: Input

connectors

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 Source: you can select one of the software source of the preset associated to the profile. If no preset

is associated, the only available option will be "As in preset".

 Remapping Mode: you can associate a remapping mode to a profile, force it over the current settings

or use the remapping mode of the linked preset. This functionnality need a calibration with the 3D
Trinnov microphone. Not used in the cinema for now.
Default value : ‘Off’.

 Bass Management: you can switch off the Bass Management or use the config editor over the

current settings. You can also select one of the Bass Management option from a specific preset when
linked to the profile.
Default value : ‘Off’.

 FIR EQ: you can select a FIR EQ file or use the FIR EQ of a specific preset when associated to the

profile.

 User EQ: you can select one of the available User EQ in the processor to be recalled when you hit the

profile button.

 Input Levels: you can select an input control file or use the input levels of a specific preset when

associated to the profile.

 Master Level: allows to apply a specific global output level (0.0 – 9.9 scale) when Profile’s loaded.

Default value: ‘Unchanged’. Tipically when Profile changes come via GPIO card.

 Output Delays: you can choose whether you want to use the Output Delays of the associated

Optimizer preset or not by selecting “As in preset” or “Inhibit”.

Default value: ‘As in preset’.

 Low Latency Mode: allows to reduce processor latency (phase and polarity correction bypassed).

Default value: ‘Off’.

 Power-on Default: as for presets, you can choose to start the processor with the profile of your

choice by selecting this option.

Important Note: for several settings, the following options are available:

- No change: if a specific setting is set to No Change, switching to the profile will have no effect on the

current parameter.

- As in preset: the “As in preset” setting has two behavior:
 It acts like the no change setting if no preset is associated to the profile: it has no effect on the

current parameter.

 If a preset is associated to the profile, any setting set to “As in preset” will use the preset

parameter.

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5.3 CONSULTANT level

Login: advanced2. Default password: advanced2.

Help and Home pages don’t change. A new page Processor appears with five new tabs: Meters, Master, Inputs,
Outputs and Output Delays.

As a complement to the Optimizer automatic equalization or as a stand-alone system, the Processor page
includes a FIR Equalizer and Graphic Equalizers, levels and delays adjustments on every channel.

5.3.1 Processor/Meters

Same as Home/Meters page.

5.3.2 Processor/Master

Level and delays adjustments are usually performed as the last step in the calibration process.

 Master Level: is the reference level used by the processor for all presets. It affects both displayed

and effective Level but it is not stored with presets. Not stored in preset.

 Relative Level: may be used to match different presets subjective levels since it can be saved.

Therefore you could for instance carry out proper A/B comparisons between different settings such
as Optimization On/Off. It does not affect the displayed level (on the top left corner of the screen).
Stored in preset.

 Level disp. offset: its main utility is to display the level in dB SPL you would measure in the room with

a -20 dBFS pink noise feeding the outputs of the Optimizer with a 0dB master level (102,6 dB in our

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example). To do so, the system must have been calibrated and the dBC button selected. The Legacy
option displays the level according to cinema standard 0.0 – 9.9 scale.

Level display offset affects displayed level only and has no impact on the level itself. It cannot be
stored in presets. Without the dBC button pressed, it has the same features as Output SPL adjust

except it cannot be saved. Once the dBC option activated, level adjustment is disabled.

 Output SPL adjust: affects both displayed and effective Level. Used along with Level display offset,

it allows you for instance to set a reference level corresponding to a measured 85 dB SPL and to
store it into a preset. It is a typical cinema use.

 Level offset when correction is on: this level offset will be applied when the Acoustic Correction is

activated.

 Level offset when remapping is on: this level offset will be applied when 2D or 3D Remapping is

activated Optimizer Settings/Settings/Main Settings page, in the ‘Speaker Position Remapping’ option.
Not used in cinéma for now.

 Master delay: can be used to apply an additional delay to all channels and all presets. Not stored in

preset.

 Relative delay: can be used to modify the delay of a preset. Stored in preset.

Processing latency informations:

 Processing Latency: corresponds to the latency of the processor algorithms. It can be modified by

changing the Optimizer mode from “Normal mode” to “Low Latency Mode” in the Optimizer
Settings/Runtime page, or Optimize setting (Amplitude + Phase has higher latency than Amplitude
only) in the Optimizer Settings/SettingMain Settings page, or the Audio Buffer Size (in Setup/Clock
page). This last possibility will only be active after a processor reboot.

 Master + Relative Delay is the sum of the master and relative delays of the Processor/Master page.

 In-out Delay is the sum of Processing Latency and User-defined delays. For the furthest speaker, it

corresponds to the system’s delay from input to output.

 Acoustic Delay: corresponds to the distance of the furthest speaker to the reference measurement

point (#1). When Time Alignment is activated, all the other speakers will be time-aligned to the

furthest speaker.

This delay cannot be modified, it depends on the room size and architecture.

 Total delay at measurement point is the delay from one input until the sound reaches the

measurement point.

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NOTE: these delays (in ms) are converted in distance (m) and frames considering the speed of sound
at 343m/s at 20°C.

 Frame rate: you can chose the frame rate in ‘fps’ (frames per second) to convert delays in frames.

5.3.3 Processor/Inputs

Processor/Inputs page can be considered as a kind of mixing console.
Most of the settings are stored in preset.

Channel order will be the same as defined in Setup/Sources page with the option ‘Next order’ and stored
in the preset. LFE input will always be the last one.

- +1 / +0.1 / -1 / -0.1: input level settings (in dB). Stored in Input Control file.

- Solo: allows to select the channel in an exhaustive way. Several solo can be combined. Stored in

Input Control file.

- Mute: allows to mute input signal. Several mute can be combined. Stored in Input Control file.

- Sine: generates 1 kHz signal. Several sine can be combined. Not stored in Input Control file.

- Pink noise: generates Pink noise signal. Several can be conbined. Not stored in Input Control file.

- Input EQ: opens the 1/3 octave « Input EQ » page of the channel. Stored in Input Control file.

Input EQ Page:

In addition to manually setting levels, the Processor/Inputs page includes 31-band, 1/3 octave Graphic
Equalizers that allow for manual equalization of each input:

 Each Freq. is ajustable from - 12 to +12 dB.
 A global gain concerning all freqs is ajustable from - 12 to +12 dB.

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 OK: allows to go back to the global Processor/Input page,
 Prev: allows to go to the Input EQ of previous channel,
 Next: allows to go to the Input EQ of next channel,
 All zeros: set all freqs to 0. To avoid bad manipulation, a confirmation will be asked.
 Bypass: allows to bypass the EQ to make a quick listening with/without.
 Link: allows to link several channels to make same modifications in one operation.
 Link LRC: allows to link the screen speakers L, R and C to be modified simultaneously.
 Link all but Sub: allows to link all channels but Sub.

- Link: allows to link several channels before going in the Input EQ page. Stored in Input Control file.

- BM trim: Bass Management (BM) ajustement gain in the Subwoofer for the selected channel.

Only possible when Bass Management functionality has been activated in Setup/Speakers page.

Stored in Input Control file.

Down the page, the active « Input Control » file name is indicated. If empty, no Input Control file is used.

- Load: allows to load a Input Control file in the proposed list,

- Save: allows to save the current settings in a new or existing Input Control file,

- Clear: reset current settings,

- Delete: definitively delete the active Input Control file. Confirmation will be asked.

5.3.4 Processor/Outputs

Processor/Outputs page can be considered as a kind of mixing console.
Most of the settings are stored in preset.

Channel order will be the same as defined in Setup/Sources page with the option ‘Next order’ and stored
in the preset. S1 will always be the last one.

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- +1 / +0.1 / -1 / -0.1: settings of the input level (in dB). Stored in Input Control file.

- Solo: allows to select the channel in an exhaustive way. Several solo can be combined. Stored in

preset.

- Mute: allows to mute input signal. Several mute can be combined. Stored in preset.

- Inv. Polarity: allows to reverse polarity of an output channel. Stored in preset.

- FIR EQ : For every speaker in the room, a FIR EQ can be defined in terms of:

 Amplitude only
 Amplitude and Phase
 Amplitude and Group Delay

Please note: by default, since the length of the FIR filter is 20ms (as defined in Optimizer
Settings/Settings/Advanced Settings page, “FIR & IIR settings” parameter), the FIR EQ has a constant

resolution of 50Hz. This implies that it has very low resolution at low frequencies; it should
therefore not be used to work on specific frequencies in the low range (under 200Hz). Instead, it
should be used to change the tonal balance as a whole.

Stored in FIR EQ file.

- Link: allows to link several channels before going in the FIR EQ, preset EQ or User EQ pages. Stored

in preset.

FIR EQ page:

The required curve can easily be edited with the arrows of the keyboard, or mouse:

 The green dots correspond to the required values for each frequency,
 The yellow line displays the expected result, taking into account the behaviour of the filter.

The FIR EQ will be saved and reloaded with the whole preset, through the usual presets page. Press
the Close button to apply the changes and get back to the Processor/Outputs tab.

IMPORTANT: Please keep in mind that the changes will not be applied until you press the OK
button.

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4 horizontal tabs are available: Amplitude, Group delay, Phase and Impulse response. You can edit:

- Just Amplitude (« Edit amplitude only »),

or

- Amplitude and Group Delay (« Edit group delay »),

or

- Amplitude and Phase (« Edit phase »).

The choice of the curves to be edited can only be done in Amplitude tab.

Available Freqs (Hz): 20, 22, 25, 28, 31, 35, 39, 44, 49, 55, 62, 70, 78, 87, 98, 110, 120, 140, 150, 170, 190,
220, 240, 270, 300, 340, 380, 430, 480, 530, 600, 670, 750, 840, 940, 1.1k, 1.2k, 1.3k, 1.5k, 1.7k, 1.9k,

2.1k, 2.3k, 2.6k, 2.9k, 3.3k, 3.7k, 4.1k, 4.6k, 5.1k, 5.8k, 6.4k, 7.2k, 8.1k, 9.1k, 10k, 11k, 13k, 14k, 16k, 18k
and 20kHz.

- Preset EQ: opens the “Preset EQ” of the channel. Settings are identical to “Input EQ”. Stored in

preset.

- User EQ: opens the “User EQ” of the channel. Settings are identical to “Input EQ”. Stored in User EQ

file.

Down the page, active “User EQ” and “FIR EQ” file names are indicated. If empty, no files used.
Load, Save, Clear, Delete: same functionality as in “Input EQ” page.

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5.3.5 Processor/Output Delays

Processor/Output Delays page allows to set delays on output channels. Channels order’s the same as
Processor/Output page.

- +1 / +0.1 / -1 / -0.1: fine tuning of delay value. Stored in preset.

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5.4 FULLADMIN level

5.4.1 Setup/Sources

This page is used to declare the number of sources and their respective format. For each source, the channel
order can also be specified if necessary. Channel routing can then be done for each source in the input matrix
(Setup/Sources routing page).

The input format information could notably be used for remapping as it gives the reference positions of the
loudspeakers. The channel order is used for metering display and Input/Output Processor pages. Remapping
isn’t used in cinema for now.

- Input format: sets the input format: mono, stereo, 2 x stereo, 3 x stereo, 2/2, 3/1, 5.1 ITU, 5.1 SMPTE,

6.1 ITU, 6.1 SMPTE, 7.1, 3/4 SMPTE, 5/2 SDDS, 8 channels, 3/6 SMPTE, 12 channels or 16 channels.

- Number of LFE: sets the number of LFE signals feeding the Optimizer.

Please note: the difference between the “ITU” and “SMPTE” formats is the reference positions for the
loudspeakers. “ITU” refers to the ITU R-775-1 specification for broadcast control rooms, while “SMPTE”

refers to the SMPTE 202M standard for film theatres and mixing stages.

- Channel order: Sets the internal sort order of the multichannel signal. It is typically the sort order of

the connections between your source and the Optimizer (if sources routing is straight). As an
example, the default channel order for a 3/4 SMPTE DCI compliantsource is:

L, R, C, LS, RS, LFE
If LFE channel is declared, the LFE signal is always placed in the last position after the other channels
and is referred to as “LFE” in the Setup/Sources Routing page.

- Listen: used to select the source that is monitored.

- Hide: unused.

- Name: clicking on the “Name…” button will display a virtual keyboard allowing to change the

source’s name.

- Remove: used to remove a source. Removal cannot be cancelled.

- Add: used to add a new source.

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5.4.2 Setup/Speaker

- Loudspeaker Number: sets the number of non LFE calibrated channels of your sound system.

NOTE: changing this setting requires re-calibration.

- Subwoofer number: sets the number of calibrated channels which will play the LFE signal and

optional bass signal from other channels if bass management is activated. Subwoofers are labeled
S1, S2… in the Routing and Meters views and are placed after the other loudspeakers. If you use
several subwoofers, the system will create copies of the first input LFE signal.

NOTE:

- The maximum number of channels which can be processed simultaneously is determined by your

license (“loudspeaker number” + “Subwoofer number”).

- If “Bass management” is activated, Subwoofers receive low frequencies from the main channels

below the chosen Crossover Frequency.

5.4.2.1 Bass Management

The Optimizer is designed to support established Bass Management settings used in the Broadcast, Film and
Music industries, as defined in standards such as EBU Tech 3276-E, AES TD 1001.1.01-10, ITU R-775-1, SMPTE
202M and ISO 2969 (curve X) and SMPTE 222M.

Important notes:

 The Optimizer always aligns the levels of all the loudspeakers, including the subwoofers.
 Regarding the option +10dB on LFE input (S1):

 In a professional environment, this option should be used as required in respect with the

recommended calibration level of the subwoofer and in order to achieve the best gain
structure.

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 The LFE channel is recorded with a level offset of -10 dB. This offset has to be

compensated for in the reproduction system. This option should therefore be used only
when no other equipment within this chain applies this gain.

 This setting is independent of Bass Management on/off.

NOTE:

 The +10dB on LFE input (S1) is not affected by the bypass mode.
 Implication: if a Bypass mode is required, make a "Bypass" preset with appropriate LFE setting/level,

rather than using the "Bypass" switch located in upper right corner.

 Recommendation: for optimized gain structure, set LFE amp at +10dB SPL relative to other channels

before calibration. Activate "+10dB on LFE Input" in the Optimized preset and deactivate it in the
“bypass" preset.

The bass management modes are as follows:

 Off: this means that no bass management is performed. Main speaker will reproduce the low

frequency components of their respective channels, and the Subwoofer(s) will only
reproduce the LFE channel.

 On: on each of the main channels the low frequencies are filtered at the cross-over

frequency, summed with the LFE and sent to the Subwoofer(s). Please note: as defined in
the industry standards, the LFE channel is not filtered. It is therefore sent full range to the
Subwoofers.

 Mono: this is the standard bass management mode, the same signal is sent to all the

subwoofers. This is the only possible mode when Subwoofer number is set to “1”.

 Stereo: this bass management feature maintains stereo bass: the low frequencies from the

Left channels (L and Ls) are sent to the first Subwoofer (S1) and the low frequencies from
the Right channels (R and RS) are sent to the second Subwoofer (S2). The low frequencies
from the Center channel are distributed equally between both subwoofers. This mode needs
to declare a minimum of 2 Subwoofers.

 Send LFE to L+R: this bass management feature is useful when no subwoofer is available to

monitor the LFE channel. The processor will equally distribute the LFE channel between the
L and R loudspeakers. Particular care should be taken to make sure that the monitors can
handle the additional power required to reproduce the LFE.

Important Note: particularly on ported bass drivers, it is imperative to set an appropriate hi
pass filter (Target Curve or in Advanced Settings), so as to not damage the woofer from over
excursion.

NOTE:

- Bass management can be set up and activated before or after calibration. It does not require computation and
its effect is audible instantly. Bass management filtering is not represented in the Optimizer Graphs.

- Bass management uses 4th order Butterworth filters.

- The button Use config editor is used for backward compatibility with previous versions of the software, in
which the bass management settings are defined in the XML file. If you don’t know XML perfectly, please don’t
use the config editor.

5.4.2.2 Delay Lines

Delay lines are provided in order to delay additional audio monitoring systems with the outputs of the
Ovation without being affected by the Optimization.
Delay lines typically are used in HI/VI treatment to align audio and video.

Once created in the Setup/Speakers page, delay lines can be set up in Setup/Sources Routing and
Setup/Speakers Routing grids.

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For example, if you create 2 delay lines to manage HI and VI input signals, 2 additional lines are consequently
created in the Sources Routing grid and named HI and VI. First line is HI, second one is VI and you can affect
these lines to HI and VI inputs on the grid.
In the Speakers Routing page, 2 additional lines are also created and can be affected to any physical output
channel. Note that outputs 4 and 8 of the Analog OUT2 dB25 connector are parallels to HI and VI RCAs.

5.4.3 Setup/Active Xovers

5.4.3.1 Functionality

The active crossovers included in the Optimizer provide the following functionality:

 2 ways, 3 ways and 4 ways crossovers,
 Constant-directivity horn correction (3 and/or 6dB/oct from 3kHz),
 Types of filters: Bessel order 2, 3 or 4; Linkwitz-Riley order 2 or 4; Butterworth order 2, 3 or 4,
 Level, Polarity and Delay adjustment on each way (driver),
 Graphic display of the crossover response

5.4.3.2 Procedure

The active crossovers can be implemented as follows:

1. The number and type of filters for each loudspeaker are set manually as well as crossover

frequencies. If the screen speakers are identical, it’s possible to Link LRC channels to set them in one
operation.

2. Levels, Delays and polarity of each driver are set manually or determined automatically with a

calibration if the Optimizer module is installed. Link LRC musn’t be used for these settings.
Automatic procedure measure the reality of the speakers in the room and will always give the best
result.

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5.4.3.3 Manual settings

The Active Crossovers page displays one tab for each loudspeaker. The number of loudspeakers displayed
depends on the number of loudspeakers declared in the Setup/Speakers Settings page.

Note: setup of the crossover filters can be done simultaneously for any speakers thanks to their respective
Link button. Linking has to be done before changing parameters!

The following settings are available for each loudspeaker:

 The number of ways can be modified by pressing the +1 and -1 buttons,
 The type of high-pass or/and low-pass filters is chosen by pressing the buttons,

 The cut-off frequency of each filter is set by clicking in the blue window and type the value.
 Two additional IIR filters are available under the name of “Constant-directivity horn” EQs. The

purpose of such filters is to boost the high frequencies for speaker that use constant-directivity
horns. These speakers tend to let the high frequency fall down at the sweet spot. Depending on the
horn you are using, you may want to boost the high frequencies by a 3 and/or 6 dB/oct, from about
3kHhz.

 The Apply button is highlighted as soon as a parameter is modified and is used to compute and load

the new settings into the processor. Once compute is finished (gears icon disappears from the
notification bar), filters are applied to the outputs.

 Physical outputs are affected to new ways. It is therefore necessary to check the speaker routing

before being able to listen to the resulting filters.

 If change is unwanted, press the Cancel button to cancel your modifications
 If change is accepted, save the preset of your choice in the presets page. Otherwise changes will be

lost.

 Level and delay can be adjusted on each way (driver). Use buttons: 0,1 dB and 0,01ms on each

click.

 Mute and Invert Polarity buttons are also available.

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5.4.3.4 Automatic settings

With the Optimizer option, it is possible, for each speaker, to set up the level, delay and polarity of each
driver automatically by a simple procedure that calibrates the drivers separately:

1. Set up the number of ways for the speaker, and the corresponding speakers routing (in the

Setup/Speakers Routing tab)

2. Set up the low-pass and high-pass filters for each way: filter type, crossover frequency.

3. Press the Calibrate button and proceed as for a global calibration.

This procedure will automatically determine the levels, delays and polarities that should be applied on the
drivers of the loudspeaker.

Once the calibration is finished, you can visualize the results in two forms:

- measured impulse response of each way: you can see whether the drivers are correctly

synchronized.
Ex: 2 ways speaker impulse response on Center channel (Low Freqs in green, High Freqs in red).

- recombined amplitude response of the speaker: you can see whether the combination of the drivers

is constructive, and you can observe the effects of level/delay/polarity modification on the combined
amplitude of the speaker. Two curves are displayed, one showing the global power of the speaker
including the room (cyan), and one showing the amplitude of the direct front and early reflections
(magneta). Comparing both curves around the crossover Freq will indicate you whether the
crossover conserves the directivity of the speaker: the more alike the two curves look, the more
directive the speaker is towards the listening spot.

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Please note:

- As they are going to be automatically tuned, the previously manual set up levels, delays and polarities

will be ignored during the calibration. In other words, tuning these parameters before launching the
calibration will have no effect on the result.

- Under some circumstances, the automatic crossover algorithm may suggest inverted polarities for a

driver from one speaker to another. This can be explained by various factors:

o The physical polarity of one speaker is, indeed, inverted (from a cabling issue, as an example). In

this case, the correction suggested by the Optimizer should be applied to improve audio quality

o Two adjacent drivers (for instance Mid and High) are phase-shifted by an amount of about 90°. In

this case, the Optimizer provides more uncertain results, as it gets harder to see whether the
drivers are in or out of phase. If you are not comfortable with the results provided by the
Optimizer, you can correct them manually afterwards (via the button “Invert pola.”).

Trinnov Ovation Calibration Guide - February 2018 Page 39/79

5.4.4 Setup/Clock

Page divided in 5 sub windows:

- Status information :

 Current sample rate: shows the current clock frequency of the processor
 Detected sample rate: shows the frequencies of detected external clock sources (AES, SPDIF,

Word Clock…).

 Detected sync: shows the types of detected clock sources.
 Using sync: shows the selected clock.

- Clock Mode:

 Slave or Master (at different rates). Turn loudspeakers OFF before changing: changing this

setting may result in loud clicks, depending on the analog converters used.

 Normal use in commercial cinema is Slave when Ovation receive contents from server.

- Clock Source: indicate on what physical input the clock comes in the processor.

- Audio Buffer Size:

 512 is the default value
 Smaller values can be selected to decrease latency, but you should check that there are no

sync losses. Note: changes are ignored until the next reboot.

- Stored in preset: if this button is on when you save a preset, clock settings will be saved and recalled

with that preset.

- CPU Load: indicates if there is a CPU overload or not.

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5.4.5 Setup/Sources Routing

This page allows you to affect physical inputs (columns) to the different channels of the software sources
(rows).

- Channels (rows) names and order of display depends on the input format and channel order declared

for each software source in Setup/Sources settings. You can assign physical inputs to any channel.
Note: the system automatically applies the relevant attenuation if several channels of a same source
are routed to the same physical input.

- The 8 signals of the calibration microphone, like any physical inputs, must also be routed. For

convenience, 8 specific channels are dedicated to the microphone and regrouped in a special
software source named "Micro". If additional “signal inputs” are needed, inputs can be routed to be
shared for the microphone and a normal signal. (Note: in this case, both signals are routed
simultaneously!).

- Sources routing may be changed after calibration.

- Note that LFE is physicaly in 4

th

position to be DCI compliant but in last position because of the

Setup/Sources page settings.

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5.4.6 Setup/Speakers Routing

- This page allows you to affect software output channels (rows) to the physical outputs of the

Ovation (columns).

- The number of outputs channels displayed in the grid corresponds to the number of loudspeakers

and subwoofers declared in the Setup/Speakers settings + number of ways declared in Setup/Active
Xovers page.

- The sort order of output channels depends on the input format and channel order of the active

software source defined in Setup/Sources page.

- If the number of speakers is bigger than the number of channels of the input format of the active

source, additional channels will be displayed as numbers. They also correspond to the calibration
order.

Notes:

 Do not change the Speakers Routing once calibration has been performed. Correction filters have a

direct association between routing outputs and speakers. Changing Speakers Routing after
Calibration will result in a mismatch of compensation by re-directing the corrected signal to the
wrong Loudspeaker.

 Last software channels will always be the Subs: S1, S2 …. But, to be DCI compliant, the main LFE

physical output will be the 4th.

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5.4.7 Setup/Config Editor

Certain advanced settings have not yet been implemented in the user interface. Instead, they are stored in

a text file, referred to as the “Config file”. Config files are based on XML, a computing standard that

facilitates the sharing of data among computer programs.

Each preset is linked to one and only one XML file. Conversely, one XML file can be used by one or more
presets. Each XML file includes a set of parameters that specify the behaviour of the Optimizer’s calibration,
analysis and optimization algorithms.

Custom remapping matrix:

For specific requirements, a custom remapping matrix can be specified, for example to route one input
channel to several output channels. For more information on this feature, please contact your Trinnov
distributor.

Parametric filters:
Additional parametric filters can be defined on each channel, for more information on this feature, please
contact your Trinnov distributor.

NOTE: don’t change anything in Config Editor if don’t have a perfect knowing of XML language

and Ovation.

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5.4.8 Setup/Network

Two modes: DHCP on and DHCP off.

- DHCP on when the button “Automatically get parameters (uses DHCP)” is activated. IP address,

Netmask, Gateway and DNS will be automatically defined by the network devices.

- DHCP off when the button “Manually specify network parameters” is selected. IP address, Netmask,

Gateway and DNS can be defined in the corresponding blue windows. To validate any change,
press the “Apply changes” button.

Notes:

- It is also possible to select DHCP on or off and set addresses on the front panel screen of the

Ovation:

 Turn Select knob to have Setup menu on screen, validate with Enter button,
 First line indicate if the Ovation is connected to any network,
 Use Select knob to go on the second line: DHCP, presse Enter hace access to DHCP mode,
 You can select On or Off and validate with Enter, press Back button to return to the previous

page,

 If DHCP is Off, turn Select to choose the address you want to set, press Enter,
 With Select, choose the number you want to set, press Enter to access to the modification,

turn Select to choose the right value, press Enter to validate,

 When all numbers are setted, turn Select to go on “OK” and press Enter, then you come back

to the previous menu.

- Trinnov software updates and remote support require Internet access, indicated in the Network

Status display “Connected to Trinnov Audio Server.”

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5.4.9 Setup/System Status

Disk space monitoring allows to check if the flash memory is full or nearly full.

Miscelaneous settings:

- Generate PDF report on save: when activated, a PDF report corresponding to the preset is generated

when the preset is saved. Please note: when deactivated, the previous PDF file will be erased next
time the preset is saved. This avoids having PDFs that do not correspond to the current preset. PDFs
can then be copied onto USB sticks or transferred from FTP.

- Light mode (implies read-only):
 When activated, the user will not be able to save or clear presets. Having a backup copy of all your

presets and switching your system to light mode keeps you from sensitive data loss.

 This button is exactly the same as the one in the upper banner of screen. The upper banner button

is accessible from all pages instead of the one in this page.

 This is the normal mode to assure the quickest loading of preset and Profile.
 More than a preventive measure, the light mode also allows faster preset changes because it uses

lighter preset versions. Light presets do not recall measurement data such as impulse responses
and do not load graphs.

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5.4.10 Presets/Presets 1-29

Ovation can store up to 29 memory presets. presets can be backed-up and restored to/from a USB key.

Except for the Master Level and the Synchronization Mode (unless you have selected the corresponding
“Stored in preset” option) all setup data is saved in the preset: optimization settings, routing, levels, delays,
FIR EQ and Graphic EQ settings, display choices…

 Each preset can be locked (small lock icon) or deleted (Clear button).
 Once saved, a preset can be loaded with its button.
 One preset can be chosen as the default preset to be automatically loaded at each start-up if its Def

button is checked. The “no default config” of the Startup Screen can disable this automatic load if

desired.

If standard PS2 or USB keyboard is connected to Ovation, presets can be renamed by just typing a new name

in the “Preset name” text blue window. If not, a virtual keyboard is also available to label your presets. Type
a label in the “Preset name” window, then press the Save button.

5.4.11 Preset/Preset Info

The preset Infos tab provides useful information about the active preset:

 Last calibration: the date and time of the last calibration.
 Last computation: the last time the user pressed the Apply Changes button and the preset has been

recomputed.

 Last saved: the last time the preset was saved.
 Preset data size: the size of the preset’s data on the flash memory.
 Generated with optimizer: the ID of the optimizer where the preset was calibrated.
 Calibration microphone: the ID of the microphone kit used for the calibration.
 Calibrated at sample rate: the sample rate used for the calibration.
 Notes: free space to type infos. This can be used to store a version history of the preset.

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5.4.12 Backup/Restore presets

5.4.12.1 Backup / Restore with a USB Key

The purpose of this feature is to make a global or partial backup of the system and restore it. While the
Trinnov unit is running, plug a USB memory stick in one of the USB ports of the Ovation (front or back
panels). The menu below will appear. It allows one to restore settings from the USB key into the processor,
or backup them from the processor into the USB stick:

 Save or Load presets include all the information related to a preset.
 Save or Load Profiles include all the information related to a Profile.
 Save or load XML Parameters correspond to the XML files used in the Config Editor.
 Save or Load microphone compensation files.
 Save PDF Documents are the measurement reports generated by the Optimizer.
 Save bugreports and screenshots.

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Presets can be saved and restored individually.

Caution: the elements previously stored on the processor will be replaced. It is of course possible to
remove files on the memory stick in order to restore only some specific settings.

5.4.12.2 Backup / Restore through the network (via FTP)

FTP functionality allows accessing the preset files, report files (.pdf) and the Screenshots of your Optimizer
for backup and consultation. Use any FTP client from any computer of the LAN (web browsers like Internet

Explorer, Firefox… have FTP capability) using the current IP address of your Optimizer (see Setup/System
Status page for connection settings).

Example: ftp://192.198.0.5
The built-in FTP server will ask you to log in:
Login = srp
Password = - the 7 digit product ID shown on the help page

- or the 6 digit serial number labeled on the rear panel

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5.4.13 Optimizer Graphs

The Optimizer provides a complete and flexible tool for displaying the responses of the speakers before and
after optimization, as well as the correction filters. It is possible to observe this information through various
angles: amplitude, phase, group delay, impulse response.
These graphs are available in the Optimizer Graphs page. This page includes two main parts:

5.4.13.1 Commands and parameters

The commands and parameters zone includes two tabs: « Display » and « Settings ».

The « Display » part is made of 3 subparts:

 Graphs: allows to select witch graphs you want to visualize. For example: the amplitude response of

L, R, LS, RS and S1 channels on measurement point 1.

 Frames: allows to select witch frames you want to visualize : ‘Before’ (the filters application) and/or

‘After’ (filters applied) and/or ‘Filter’ (resulting of the computing phase)

 Zoom: allows modifying amplitude, frequency and time scales according to the type of

representation. Modifications possible on axis X and/or Y.

The « Settings » part allows you to organize Tabs, Subtabs, Frames and Graphs Overlay.

In the example below:

 The Graphs Overlay is ‘Speakers’: you will visualize the output channels graphs associated to the

speakers. These speakers are defined in « Setup/Speakers » page (Loudspeaker number, Subwoofer
number).
In the « Display » part, it will possible to choose which speakers you want to view in the available
ones. For example: L, R, C, LS, RS, S1 (Loudspeaker number = 5 and Subwoofer number = 1).

 The Frames to display are ‘Before/After/Filter’: you will view or mask each one of this three frames in

the field ‘Frames’ of the « Display » part. From the top to the bottom, the order of this frames is

always: Before – After – Filter.

Viewing zone

Commands and

parameters zone

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 The Subtabs option is ‘Amp/Phase/Delay/Impul’: here are defined the available pages in the horizontal

subtabs. In the present case, it will be: Amplitude, Amplitude (direct), Phase, Groupe Delay, Impulse
and Impulse (lin).

 The Tabs option is ‘Measure points’: here are defined the available pages in the horizontal tabs. In

the present case, it will be the measurement points ‘Pt.1’ to ‘Pt.8’ for a Multi-microphones calibration
mode.

The following combinations are possible:

Graphs overlay

Frames

Subtabs

Tabs

speakers

before/after/filter

amp/phase/delay/impul

measure points

speakers

before/after/filter

measure points

amp/phase/delay/impul

speakers

amp/phase/delay/impul

before/after/filter

measure points

speakers

amp/phase/delay/impul

measure points

before/after/filter

speakers

measure points

before/after/filter

amp/phase/delay/impul

speakers

measure points

amp/phase/delay/impul

before/after/filter

before/after/filter

speakers

amp/phase/delay/impul

measure points

before/after/filter

speakers

measure points

amp/phase/delay/impul

before/after/filter

amp/phase/delay/impul

speakers

measure points

before/after/filter

amp/phase/delay/impul

measure points

speakers

before/after/filter

measure points

speakers

amp/phase/delay/impul

before/after/filter

measure points

amp/phase/delay/impul

speakers

measure points

speakers

before/after/filter

amp/phase/delay/impul

measure points

speakers

amp/phase/delay/impul

before/after/filter

measure points

before/after/filter

speakers

amp/phase/delay/impul

measure points

before/after/filter

amp/phase/delay/impul

speakers

measure points

amp/phase/delay/impul

speakers

before/after/filter

measure points

amp/phase/delay/impul

before/after/filter

speakers

Frames

Tabs

Subtabs

Graphs Overlay

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In all these combinaisons, you will use some of them more than the others. Try to configure your Optimizer
Graphs page as convenient as possible.

NOTE: the viewing settings are saved in presets. This display only takes under consideration the automatic
filters provided by the Optimizer. All the complementary manual settings (Input EQ, FIR EQ, preset EQ,
User EQ, ...) are not included in this visualisation.

5.4.13.2 Visualisation

There is no possible action in the visualisation zone. You can just use Tabs and Subtabs to select the graphs
you want to see regarding the configuration you made in the « Settings » part.

Please note:

 The Graphs colors are copied on the selecting buttons in the ‘Graphs’ field of the « Display » part,
 Pay attention to the horizontal and vertical unities (dB, ms, Hz, degree) in the way to use as best the

graphs and the zoom options,

 Try to configure the viewing combinaisons in a way to avoid too many information displayed to ease

graphs analysing.

5.4.14 Optimizer Settings

The Optimizer Settings page provides settings concerning the calibration and the optimization.

5.4.14.1 Optimizer Settings/Runtime

 Optimization ON/OFF: allows the user to bypass all the processing related to the Settings page: the

acoustic correction, the automatic delay and level alignment, as well as the remapping options. When
Optimization is OFF, only the processing defined in the other pages is applied:

o routing, as defined in the Setup Sources and Speakers routing tabs,
o levels, as defined in the Processor tabs,

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o graphic EQs, as defined in the Processor tabs,
o bass management (not used in cinema).

 Acoustic Correction ON/OFF: when turned OFF, both the automatic equalization (defined by the target

curve) and the FIR EQ are bypassed.

 Level Alignment ON/OFF: the automatic alignment of speaker levels can be disabled, meaning that no

automatic gain changes will be applied to the outputs.

 Delay Alignment ON/OFF: the automatic alignment of speaker distances can be disabled, meaning that

no automatic delays will be applied to the outputs.

Please Note: for more information about the global bypass mode, please refer to the appendix of this
document.

5.4.14.2 Optimizer Setings/Settings

5.4.14.2.1 Optimizer Settings/Settings/Main settings

Main Optimization Settings

o Optimize:

Amplitude + Phase (default): with this setting, the Optimizer will improve both the loudspeaker

amplitude and the phase response of the loudspeaker. This greatly reduces the group delay of the
speakers starting from about 200Hz,

Amplitude only: this mode tells the Optimizer to work only on the amplitude of the loudspeaker’s

response. The phase behavior is not modified,
Low range only: with this setting the automatic equalization will only use IIR filters up to frequency
defined in the advanced settings. The automatic FIR filter is disabled, but the FIR EQ can still be applied,
According to L&R speakers: this is a special mode that will optimize the center and surround speakers in
order to achieve the same response as the Left and Right speakers. It is mostly useful in home cinema
installations.

o Maximum boost:

It defines, in dB, the maximum amount of boost that will be performed by the algorithms. This parameter
is used to avoid distortion.
This parameter has an important impact on the behaviour of the automatic equalization, and is applied
to both the time-based and the energetic approach. Default value is 6dB.

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o Maximum attenuation:

It defines, in dB, the maximum amount of attenuation that will be performed by the algorithms.
This parameter also has an important impact on the behaviour of the automatic equalization, and is
applied to both the time-based and the energetic approach. Default value is -12dB.

NOTES: about the parameters “Quantity of Early Reflections” & “Resolution of Energy Response”

The Optimizer uses two different approaches for the Optimization of Loudspeaker/Room Acoustics:

1) A time-based approach for the correction of Early Reflections (ER). The main parameter that defines the

behaviour of this algorithm is the width of the time-frequency window “Quantity of Early Reflections”.

2) An energetic approach for the correction of Late Reverberation (LR), whose main parameter, Resolution of

Energy Response is the smoothing applied to the energy response.

o Quantity of Early Reflections:

A simple parameter that characterizes the quantity of early reflections that the Optimizer tries to
compensate is the width of the time-frequency window. The size of this window is defined by a number
of cycles, hence the naming “/f”, where  (alpha) is the number of cycles and f the frequency (1/f being
one cycle). Default value is 3 cycles.

The meaning of the time-frequency window is as follows: for each frequency a different duration (or
width of the time window) is taken into account. At low frequencies the window typically starts at 150ms
for 20Hz, and decreases constantly to be as low as 0.3ms at 10kHz.

o Resolution of Energy Response:

It defines, in number of octaves, how the room’s energy response is smoothed, and modifies the

behaviour of the equalization performed by the Optimizer on the Late Reverberation. The behaviour of
the energy optimization algorithm varies according to the smoothing applied to the room’s response. If
the response is less smoothed, sharp peaks in the response will be more taken into account for the
correction, while with more smoothing only the overall tonal balance of the room will be corrected.
Default value is 1/3 octave.

o Speaker position remapping: not used in cinema.

5.4.14.3 Target curves

The Optimizer implements Target Curves as a powerful tool for achieving the required frequency response
from your sound system. For every speaker in the room, a target curve can be defined in terms of:

 Amplitude only
 Amplitude and Phase
 Amplitude and Group Delay

One or more channels can be
linked in order to share the
same target curve for several
speakers. The most usual
case is to link screen
speakers. A specific button
was implemented for this
configuration: Link LRC
button.

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The curve can easily be edited with the arrows of the keyboard:

 the green dots correspond to the required values for each frequency,
 the yellow line displays the expected result, taking into account the behaviour of the filter,
 click on green dot, it will appear in red and current freq and level values will be indicated.

Please note:

 by default, the Optimizer will use both IIR and FIR filters to achieve the target curve. This can be

changed to IIR only or FIR only in the “Use Filters” parameter of the Optimizer Setings/Advanced
Settings,

 in addition to target curves, several other parameters define the behaviour of the automatic

equalization.

5.4.15 Optimizer Settings/Runtime

 Optimization ON/OFF: allows the user to bypass all the processing related to the Optimizer Settings

page: the acoustic correction, the automatic delay and level alignment, as well as the remapping options.
When Optimization is OFF, only the processing defined in the other pages is applied:

o Routing, as defined in the Setup/Sources Routing and Setup/Speakers Routing pages,
o Levels, as defined in the Processor Master, Inputs and Outputs pages,
o Graphic EQs, as defined in the Processor Inputs and Outputs pages,
o Bass management.

 Acoustic Correction ON/OFF: when turned OFF, both the automatic equalization (defined by the target

curve) and the FIR EQ are bypassed,

 Level Alignment ON/OFF: the automatic alignment of speaker levels can be disabled, meaning that no

automatic gain changes will be applied to the outputs,

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 Delay Alignment ON/OFF: the automatic alignment of speaker distances can be disabled, meaning that

no automatic delays will be applied to the outputs.

Please Note: for more information about the global bypass mode, please refer to the appendix 7.3 of this
document.

5.4.16 Optimizer Settings/Settings

5.4.16.1 Optimizer Settings/Settings/Main Settings

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- Optimize:
o Amplitude + Phase (default): with this setting, the Optimizer will improve both the loudspeaker

amplitude and the phase response of the loudspeaker. This greatly reduces the group delay of the
speakers starting from about 150Hz,

o Amplitude only: this mode tells the Optimizer to work only on the amplitude of the loudspeaker’s

response. The phase behavior is not modified,

o Low range only: with this setting the automatic equalization will only use IIR filters up to frequency

defined in the Optimizer Settings/Settings/Advanced Settings tab(Default: 150Hz). The automatic FIR
filter is disabled, but the FIR EQ can still be applied,

o According to L&R speakers: this is a special mode that will optimize the center and surround speakers

in order to achieve the same response as the Left and Right speakers. It is mostly useful in home
cinema installations. The different options available for this mode are explained in the Optimizer
Settings/Settings/Advanced Setting tab.

- Maximum boost:

It defines, in dB, the maximum amount of boost that will be performed by the algorithms. This parameter
is used to avoid distortion. Its default value is 6dB.
This parameter has an important impact on the behaviour of the automatic equalization, and is applied
to both the time-based and the energetic approach.

- Maximum attenuation:

It defines, in dB, the maximum amount of attenuation that will be performed by the algorithms. Its default
value is -12dB.
This parameter also has an important impact on the behaviour of the automatic equalization, and is
applied to both the time-based and the energetic approach.

About the parameters “Quantity of Early Reflections” & “Resolution of Energy Response”:

The Optimizer uses two different approaches for the Optimization of Loudspeaker/Room Acoustics:

- A time-based approach for the correction of Early Reflections (ER). The main parameter that defines the

behaviour of this algorithm is the width of the time-frequency window “Quantity of Early Reflections”,

- An energetic approach for the correction of Late Reverberation (LR), whose main parameter, Resolution of

Energy Response is the smoothing applied to the energy response.

- Quantity of Early Reflections:

A simple parameter that characterizes the quantity of early reflections that the Optimizer tries to
compensate is the width of the time-frequency window. The size of this window is defined by a number
of cycles, hence the naming “/f”, where  (alpha) is the number of cycles and f the frequency (1/f being
one cycle). Default setting is 3 cycles.

The meaning of the time-frequency window is as follows: for each frequency a different duration (or
width of the time window) is taken into account. At low frequencies the window typically starts at 150ms
for 20 Hz, and decreases constantly to be as low as 0.3ms at 10 kHz.

- Resolution of Energy Response:

It defines, in number of octaves, how the room’s energy response is smoothed, and modifies the
behaviour of the equalization performed by the Optimizer on the Late Reverberation. Its default value
is 1/3 (third octave).

The behaviour of the energy optimization algorithm varies according to the smoothing applied to the

room’s response. If the response is less smoothed, sharp peaks in the response will be more taken into

account for the correction, while with more smoothing only the overall tonal balance of the room will
be corrected.

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- Speaker position remapping:

o Off (default): remapping is disabled. Normal use in commercial cinema.
o Matrix: specifies that the I/O routing to be taken into account is in the Setup/Config Editor page. To be

used by advanced users.

o Automatic routing: This option uses the Optimizer's 3D speaker position information (from the

calibration with the Trinnov 3D microphone) to automatically route each channel to the speaker
closest to the reference position.

o 2D Remapping: this feature performs a remapping of the loudspeakers positions, but only in the

horizontal plane. This allows for :

- Compensating for incorrect loudspeakers position, but only with respect to horizontal angles

(azimuth).

- Rendering a signal format (stereo, 5.1, 7.1…) on any number of loudspeakers. This includes up-

mixes and down-mixes.

o 3D Remapping: This mode enables the full spatial optimization in 3D. This allows for:

- Compensating for incorrect loudspeaker position in azimuth and elevation.

- Rendering a signal format (stereo, 5.1, 7.1…) on any number of loudspeakers. This includes up-

mixes and down-mixes.

Important Note: Speakers Remapping mode can be controlled with Profiles.

5.4.16.2 Optimizer Settings/Settings/Target Curve

The Optimizer implements Target Curves as a powerful tool for achieving the required frequency response
from your sound system. For every speaker in the room, a target curve can be defined in terms of:

 Amplitude only
 Amplitude and Phase
 Amplitude and Group Delay

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One or more channels can be linked in order to share the same target curve for several speakers. The most
usual case is to link LRC channels before making modifications. A specific button was implemented for this
configuration.

The curve can easily be edited with the arrows of the keyboard:

 The green dots correspond to the required values for each frequency,
 The yellow line displays the expected result, taking into account the behaviour of the filter.

Please note:

 By default, the Optimizer will use both IIR and FIR filters to achieve the target curve. This can be

changed to IIR only or FIR only in the Optimizer Settings/Settings/Advanced Setting/Acoustics
correction window with the “Use Filters” parameter.

5.4.16.3 Optimizer Settings/Settings/Advanced settings

All the following settings are accessible using the right scroll bar on the page.

 Display smoothing: defines the smoothing value used for displaying the frequency response curves, in

the pdf document generated while saving, in amplitude and phase. A smaller value can be used to display

more details in the frequency response.
Available settings: 1/24, 1/12, 1/6, 1/3, ½, 1, 2 and 3 oct.
Please note that this parameter has no effects on the curves displayed in the Optimizer Graphs page.
Default setting is 1/3 octave.

 Front & Surround Speaker settings:

The following features can be separately configured on for the Front speakers and on the Surround
speakers.
Please note that Front speakers are defined as those whose azimuth is below 90 degrees (LRC).
Conversely, Surround speakers are defined as those whose azimuth is above 90 degrees.

o early reflections correction (default setting is Front),
o energy response correction (default setting is Front and Surround),

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o delay alignment, e.g. surround delay alignment may or may not be required depending on the

application and recommendations (default setting is Front and Surround),

o add decorrelation: in the case of sound editing and sound feature mixing rooms for cinema stages, the

Optimizer can apply a decorrelation algorithm to the surround channels in order to simulate the diffuse
field created by a belt of surround speakers (default setting is no Front and no Surround),

o remapping: in certain monitoring situations, such as in dubbing theatres, it may be preferable not to

apply remapping to the front speakers (default setting is no Front and no Surround).

 Acoustics Correction:

o Use Filters:

o FIR + IIR: default setting used by the Optimizer: both IIR and FIR filters are used to work on the

speaker responses full range,

o FIR only: no IIR filters are used, which means that the Optimizer will only work on the mid and high

range of the speaker responses. The low range won’t be optimized,

o IIR only: with this setting, both the automatic FIR and the FIR EQ are disabled. The Optimizer will

only use IIR filters to work on the low range. This setting could be used in specific cases where the
user wants to be sure that no FIR filters at all are applied.

o High-pass filter frequency: defines the cutoff frequency for the high-pass filter applied to all

channels. Can be disabled. Default setting at 10 Hz.

 Calibration settings:

Threshold for resp begin detect: is the threshold below the peak level of the impulse that is taken into
consideration to determine the onset of the response. However, a lower threshold is recommended in a
room with a huge amount of early reflections where the peak might not be detected correctly. Default
setting at -15dB.

 Optimize according to L&R speakers settings:

Processing on L&R speakers (default setting is “IIR only”): if the optimize mode is set to “Optimize
according to L&R speakers” in the Optimizer Settings/Settings/Main Settings tab, the Optimizer will only

use IIR filters on the L&R speakers. This can be switched to “None” to make sure the L&R speakers are
not optimized at all.

 FIR and IIR settings:

o FIR filter length (default setting is 20ms): defines the length or number of taps of the FIR filter. The

default setting of 20ms corresponds to 1024 taps at 48kHz and 2048 taps at 96kHz,

o Number of IIR filters (default setting is 15): the number of IIR filters that will be used on every channel,
o IIR filters minimal/maximal frequency (default settings are 20Hz/300Hz): IIR filters will be positioned

from the min frequency up to the max frequency.

 Level alignment settings:

o Weighting used for levels (default setting is dBA): sets the type of weighting used by the optimizer for

level alignment,

o Width of level window (default setting is 16/f): this time-frequency window is used to compute the

perceptual level of every speaker. Its width can be modified to improve the automatic level alignment,

o Maximum/minimum gain on speakers (default settings are 10dB/-20dB): defines the

maximum/minimum gain that will be applied for the automatic level alignment,

o Minimal/maximal bandwidth frequency (default settings are 10Hz/Unlimited): defines the high end/

low end of the bandwidth that is used as the starting point for level computations.

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 Subwoofer low-pass filter settings:

o Cutoff frequency (default setting is “disabled”): defines the cutoff frequency for the low-pass filter

that can be applied to the subwoofer.

o Filter type (default setting is Butterworth): defines the type of filter used at the cutoff frequency. The

elliptic filter is sharper than the Butterworth but shows ripples in the whole bandwidth.

o Filter order (default setting is 4): defines the steepness of the filter. The slope gets stiffer as you

increase the filter order. Please be aware that such changes may result in significant phase shifts

o Rp value (for elliptic filter) (default setting is 0.1 dB): sets a maximum amplitude ripple above the cutoff

frequency.

o Rs value (for elliptic filter) (default setting is 80 dB): defines the attenuation below the cutoff

frequency.

o Subwoofer delay aligment (default setting is Enable): allows to include the Subwoofer in the speakers

delay aligment.

 Decimation settings:

It is strongly recommended not to change these settings unless you have been requested to do so by
Trinnov Support.

 Advanced FIR settings:

It is strongly recommended not to change these settings unless you have been requested to do so by
Trinnov Support.

5.4.17 Optimizer Settings/Positions

Three views are provided about the loudspeaker positions and additional details:

 The Top view tab: loudspeakers are seen from above,
 The Elevation view tab: Loudspeakers are seen from the listening point. Relative degrees of

elevation and azimuth are displayed,

 Summary tab: a table listing the measured distance, elevation, azimuth, level, delay etc…

By default, the Optimizer Settings/Positions/Top View tab always displays the reference loudspeaker positions
in green color. These positions are determined by the input format of the active source (Stereo, 5.1 ITU, 5.1
SMPTE or other). Note that RT60 measurement is indicated in this page.

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The Top View (above) can be used in 2D measurement. Elevation View (below) needs the 3D microphone to
be used in cinema theaters.

Measurement Summary:

 Speaker is the list of the speakers labels,
 Distance is the distance of the speaker (in meters) to the measurement point,
 Elevation is the elevation of the speaker (in degrees) to the measurement point (only for 3D

mesureament),

 Azimuth is the azimuth of the speaker (in degrees) to the measurement point (only for 3D mesureament),
 Level A corresponds to the A-weighted level of the speaker in dBFS,
 Level C corresponds to the C-weighted level of the speaker in dBSPL,
 Level A compensated corresponds to the A-weighted level of the speaker in dBSPL after applying gain

compensation and filtering,

 Level C compensated corresponds to the C-weighted level of the speaker in dBSPL after applying gain

compensation and filtering,

 Delay corresponds to the distance of the speaker in time unit (ms) with a speed of sound = 343 m/s,

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 BM Delay may be added to the subwoofer to improve the crossover with the satellites. More rarely, if the

subwoofer is in advance, all the satellites are delayed,

 Delay Compensation is the delay that is added to every speaker to time align the system,
 Polarity specifies whether the Optimization will invert the polarity of the speaker. Please note this is not

the “measured polarity” of the speaker,

 Crest Factor helps evaluating the quality of the measurement. It should be higher than 30dB for front and

surround speakers. Low values could indicate background noise problems. Sub should be more than 15dB.

5.4.18 Optimizer Settings/Calibration

The Ovation allows to calibrate the B chain of the room with an easy and quick calibration procedure in 5
steps called Setup Wizard. For more details, please refer to §5.4.15.

You can enlarge your listening area by measuring your system in different points or series of points, a special
algorithm finding automatically afterward the best compromise between the ideal corrections in these
points.

In the Optimizer Settings/Calibration tab, you will find the list of all the measurements of the preset (one per
line). A measurement contains the responses recorded during the test sound sequence by one microphone
or several microphones placed at different points in the room. You can calibrate the selected measure by
using the “Calibrate” button at the top of the page. During Calibration, the name of every speaker/channel
is displayed while playing the MLS sequence.

Before the measurement, the calibration status is always: No!
Once every measure has been calibrated, the calibration status can be: Yes or Partial.
If the status is Yes, that means that all channels have been well measured for all microphones and then you
can compute the acoustic correction filter that will best fit every point, accordingly to their weight.

The Partial status means that measurement went wrong on one (or few) channels and/or one (or few)
microphones. Then you must find the cause of the issue and then calibrate again till you will obtain a good
measurement. Computing a bad measurement won’t give you the highest quality of calibration you could

expect to have with the Optimizer.

Each measurement can be renamed by typing a new name in the blue window or using the virtual keyboard.

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List of measurement points:

Using the “Configure” button, you
open the list of points that compose
the measurement. You can add or

remove points by pressing the “+1”
or “-1” button at the bottom of the

page.
This will increase or decrease the
number of points indicated.

Please note that among the list of available microphones should only appear the microphones you have
purchased and which are therefore linked to your processor. The Default microphone can be chosen by
pressing the Default Microphone button.

The next column, called “Calibrated”, indicates the calibration status of each point. Three labels are possible:

Yes, Partial or No!:

- Yes means that all channels have been correctly measured for this point,

- Partial means that some channels haven’t been correctly measured for this point. Fix the issue and

recalibrate.

- No! means that no channel has been correctly measured for this point. Fix the issue and recalibrate.

The “Weight” column allows you to set a weight to each point, from 0 to 100, to emphasis for example some

central points. You can bypass some points by setting their weight to 0, what can be useful in case one of

the points have failed the calibration but you don’t want to perform a calibration again.
The weight can be adjusted after a calibration; you don’t have to run a complete calibration to take weight
changes into account, just to press once the “Compute” button. If using your processor with an external

keyboard, you can adjust the weight with the up (+1) and down (-1) arrows, or the page up (+10) and page
down (-10) keys.

The lock will allow you to calibrate some point without losing the data you already recorded for this point
(not functional yet in this version)

Ref is the unique reference point for all points of all measurements. That’s the point the delay and level
correction are computed from. Default setting is Point #1.

“Ok” allows to keep your changes and go back to the measurement list. “Cancel” allows to go back to the
measurements list without keeping the changes.

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Measurements list:

You can add a new measurement with “Add” button at the bottom of the page, or delete the selected

measurement by pressing “Delete”. When you add a new measurement, the points configuration is copied

from the selected measurement, assuming you may want to run a new measurement of the same system
with the same equipment (of course you can change these parameters). The removal of a measurement
cannot be cancelled. You can also rename a measurement by editing the blue text box "Meas. name".

For each measurement, the “Calibrated” column indicates “Yes” if all the points containing the
measurement have been correctly calibrated, “No!” if none have been, and “Partial” if some points have

successfully passed the calibration while some other did not, or if you added some more points after the
calibration.

As for each point, you can set a Weight to each measurement; the final weight of each point will be the

product of its own weight and the weight of its measurement. Setting a measurement’s weight to 0 will

bypass it. The weight can be adjusted after a calibration but requires to be recomputed.

The lock disables measurement settings edition.

The “Ref” column indicates in which measurement the reference point is. This can be changed by pressing
the “Configure” button of the measurement that contains the point you want choose as new reference or

just by choosing the reference measurement point of your choice in case it contains only one point.

All the measurements with non-null weight should be fully calibrated before to compute the acoustic

correction filters by pressing the “Compute” button. If some are partially or not calibrated at all, you will

have fix the problem, remove the bad points or their entire measurements, for example by setting their
weight to 0, before to be able to compute the acoustic filters.

Before saving your preset in the “Presets” page, you have to save the multipoint parameters by pressing the

“Save changes” button. These parameters are automatically saved (and the button disabled) when you

leave the point list, and when you run a calibration or a computation.

Please note that if computation is not performed after a partial or full calibration, the notification bar will
show a red "NOT READY" message indicating that the outputs of the processor are muted.

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5.4.19 Setup Wizard

The Setup Wizard page includes 5 tabs (Step 1 to 5) that are the 5 easy and quick steps to calibrate the sound
of the B chain.
Select the Step 1 tab, if another step was already selected.

5.4.19.1 Step 1:

Please follow the instruction and firstly mute the inputs by clicking on ‘Inputs Mute’ button. The input mute
is active when the button is blue.
It won’t be possible to launch the Pink Noise during the step 3 if the ‘Inputs Mute’ hasn’t been selected in the
step 1.

The following logo appears in the upper banner as long as the ‘Inputs Mute’ is active.

Disable the ‘Light mode’. ‘Light mode’ is disable when the button is black.

NOTE: in the processor normal mode, the Ovation will compute all graphs when you’ll load presets or
Profiles. This operation can take a non negligeable time depending on the amount of measurement
points, input and output channels and can slow down the switch from a preset to another one,
introducing sound cuts. ’Light Mode’ allows to load quickly a preset without computing the graphs. It will
be very useful when you want to quickly compare two presets before choosing the most adapted to your
cinema theater.

Place the microphones in the room according to the recommendation in Microphone placing window.

Go to Step 2.

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5.4.19.2 Step 2:

First of all, you must select the calibration Template, that means the configuration of your audio system and
the microphone configuration for the calibration:

 calibration with 1 (Mono) or 8 (Multi) microphones,
 5.1 ou 7.1 input audio format,
 mono, bi or tri-amplification audio system for the Left, Right and Center output channels,

then click on ‘Copy selected template to preset #5’ button to save these settings to default preset #5.

Selecting Microphones compensations file:

The Mics compensations file applies a frequency correction on each of your 8 microphones of the kit to
obtain the most flat and linear response. Before starting calibration, you have to choose the Mics
compensations file corresponding to the used kit in the list appearing by clicking on the small black button
on the left beside the ‘Apply set’ button.

NOTE: the Ovation Mics compensation file is always named rnXX, with XX = kit number.

Once the appropriate file selected, click on ‘Apply set’ to confirm.

If the Mics compensations file you need isn’t already in the Ovation processor, you can load it from the USB
stick included in the mics box. Plug the USB stick in the front panel USB port and select ‘Load microphone
files from USB key’ in the following page that appears on screen:

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After clicking on the appropriate button, the following page appears:

Back to the previous page, click on the ‘Close’ button to come back to step 2.

Click on ‘Select a kit’ on Step 2 page to choose the appropriate kit you currently use for the calibration.

Confirm by clicking on ‘Apply set’ button.

Not necessary but, if you want, you can control that the 8 Mics compensations files of your kit have been
rightly loaded in the processor in Optimizer Settings/Calibration page, by clicking on ‘Configure’ button:

type the name of the folder
where the Mics compensations

file is stored on the USB stick

OR

choose the folder in the list
that will appear by clicking on

this button

AND

click ‘OK’ to confirm

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Then you can verify than each Mic compensations file is applied to the corresponding microphone (example
below: kit 11):

Go back to the Setup Wizard page and go to Step 3.

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5.4.19.3 Step 3:

If the calibration devices are not installed at this step (Mics, Mic box, cables), please do it now.

Before launching the pink noise test, make sure than the output level isn’t too high. Start with the
output level set at 3.0 for example, then increase to 7.0.

You can launch the pink noise by clicking ‘Start’ button and then rise it slowly to reach the reference level
(7.0). The default mode is Manual. You can switch from a channel to another with ‘<’ or ‘>’ buttons between
which the speaker label is indicated: L, R, C, LS, RS and S1 for 5.1 format for example.

By clicking ‘Auto’ button, you activate the automatic pink noise (active when button is blue) which test

successively all the output channels (approximately 5 sec. per channel).

In multi-amplification mode, and for each concerned channel, you can hear the whole enclosure by clicking

‘All ways’ button (active when button is blue) or each way of the selected channel with the ‘<’ or ‘>’ third
line’s buttons: High, Mid and Low.

With the Ovation output level at 7.0, set the levels of all amplifiers to obtain:

- around 65 dBC on each output channel (or each enclosure way),

- around 80 dBC on the subwoofer output channel.

A Microphones RTA analyser shows the frequency response of the calibration mics. You can select each

microphone by clicking ‘M1’ to ‘M8’ buttons to control the consistency of the whole measurement points.

In any case, you can stop the pink noise by clicking the ‘Stop’ button.

Go on Step 4 next page for multi-amps mode and Step 4 further for mono-amp mode.

Subwoofer setting zone

65 dBC setting zone

Start / Stop button

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5.4.19.4 Step 4:

5.4.19.4.1 Multi-amplification

In multi-amplification mode, it’s firstly necessary to perfectly calibrate the cross-overs filters of each screen
speaker before calibrating a global output channel. You access to the Crossover calibration page by clicking
‘Settings’ button:

Then you reach the crossovers setting page of each output channel (Left on the following ex.):

The frequencies crossovers and filters types are set with default security values. Generally, the multi­amplified channels are the screen channels: Left, Right and Center. Multi-amps is also possible on surround
and back channels.

Before launching crossovers calibration, you must type the appropriate crossover frequency values and
choose the correct filters types respectively to the speaker manufacturer specifications.

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NOTE: for identical enclosures, a modification of one’s settings can be duplicated on the others. Before
modifying the caractéristics of the identical enclosures, you must link the corresponding channels. Screen
speakers can be linked only by clicking on ‘Link LRC’ button.
Click the « Link » button on the output channels you want to link each others and validate with the «Apply
» button which became highlighted.
When several channels are linked, the « Link » button is highlighted on each one.
The modifications done on the identicals channels, you must unlink them.
Click the « Link » button on the output channels you want to unlink and validate with the «Apply » button
which became highlighted.

You can now proceed to the selected channel calibration. This procedure must be reconduct on each multi­amplified channel.

NOTE: for all multi-amplified speakers (Left, Right and Center generaly), it is recommanded to use
identical amplifiers and to set them at the same level.

To avoid any risk of enclosures damage due to high output levels of the amplifiers or audio
processor, set the Ovation output to low value and adjust it slowly to the appropriate level. Start
at 2.0 and rise progressively the level between 5.0 and 6.0. A calibration at 7.0 is possible but could
be very loud.

If the MLS sequence level is too low for the measurement, the following message will appear on Ovation
and computer interface’s screen: ‘Crest factor too low for capsule X’ (X is the microphone number).

This message will disappear if you click on it or when the measurement level will be enough for the processor
after you’ve rised the output level. This message could appear again until a correct measurement level.

Once the crossover calibration procedure has finished on the active channel, a confirmation page is shown
and you can see the results on the following graphs and bring some modifications if necessary.

The « Crossovers filters » graph shows the result of the electrical frequency bands summation considering
the parameters introduced.

This graph can be modified by the level adjustment, the crossover frequency value and the filter type: Bsl
(Bessel), L-R (Lindquist Riley) and Bwth (Butterworth) with the appropriate order.

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The « Impulse response » graph shows how each spearker way is responding to an impluse signal. Then you
can see whether the drivers are correctly synchronized and their respective levels. You can adjust the
parameters to synchronize the graphs the best as possible.

This graph can be modified by Delay time and Level value.

The « Amplitude (power & direct) » graph shows the recombined amplitude response of the speaker: you
can see whether the combination of the drivers is constructive, and you can observe the effects of
level/delay/polarity modification on the combined amplitude of the speaker.
Two curves are displayed, one (cyan) showing the global power of the speaker (including the room), and
one showing the amplitude of the direct front and early reflections (magenta). Comparing both curves will
indicate you whether the crossover conserves the directivity of the speaker: the more alike the two curves
look, the more directive the speaker is towards the listening spot.

This graph can be modified by Level value, Delay time and polarity.

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When you have found the best compromise of your settings for the current channel, then you can calibrate
the next one.

Once you have finished the calibration of all the multi-amplified channels then click on the ‘Back to Wizard’
button to come back to page « Setup Wizard/Step 4 ».

Save the crossover calibration by clicking on the ‘Save preset #5’ button.

Preset #5 is always the default preset to save your settings.

The calibration of each output channel will now begin as indicated in the following pages whatever you are
on mono or multi amplification.

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5.4.19.4.2 Mono-amplification

In mono-amplification, or once the crossover calibration’s achieved, launch the MLS calibration sequence by
clicking on ‘Calibrate’ button (Calibration status must be Not calibrated !):

At any moment you can stop the calibration sequence by clicking on the ‘Cancel’ button that appears in place
of the ‘Calibrate’ button. ‘Status’ will change and indicate the channel that is currently calibrated.

During the calibration, the following logo appears in the upper banner:

If the MLS sequence level is too low for the measurement, the following message will appear on Ovation
and computer interface’s screen: ‘Crest factor too low for capsule X’ (X is the microphone number):

This message will disappear if you click on it or when the measurement level will be enough for the processor
after you’ve rise the output level. This message could appear again until a correct measurement level.

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NOTE: at the end of the calibration sequence, if the

status field indicate ‘Partially calibrated’, that means

one or few measurement points has not be rightly
calibrated.
It can be a cable damage, dropped microphone …. So
you must fix the issue and launch a new calibration
sequence.

When the calibration sequence achieve
without problem for all the outputs channels,
the status field will indicate ‘Calibrated’:

By clicking on ‘Compute’ button, the processor will now calculate all the optimisation filters.

During the filters computing time, the following logo appears in the upper banner:

During the graphs’s compute, the following logo appears in the upper banner:

Depending on the input format (5.1, 7.1, …), the amount of measurement points and the amplification mode

(mono, bi or tri), the computing time differs.

Once the computation has finished, you must

click on ‘OK’ button to validate, and save it by
clicking on ‘Save preset #5’ button on the « Setup

Wizard/Step 4 » page.

Go on Step 5.

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5.4.19.5 Step 5:

First of all, step 5 shows a summary of levels and delays compensations for all speakers. In the following
example (5.1 format), the compute suggest a +8.0dB gain correction and a 3,21ms delay on the subwoofer
output channel:

This array allows you to verify the consistency of the audio installation, or in the opposite, identify anomalies
due to the cinema theater or to the measurement points.

In this case, it is necessary to analyse these anomalies and try to reduce them the most as possible or to
cancel their causes. Then you can calibrate once again your cinema theater and note the improvements of
your actions on the calibration result.

If everything’s OK, click on the ‘Apply suggested levels’ and ‘Apply suggested delays’ buttons to apply the

suggested ajustments and finaly save these settings by clicking on the ‘Save preset #5’ button.

NOTE: If you want to compare several presets with different parameters and settings, copy the preset #5

on another emplacement with an appropriate name before starting a new calibration procedure.

Then you can switch from a preset to another by simply clicking on the appropriate preset button in the «
preset » page and listen to the differences and make your choice. Being in ‘Light mode’ allows to switch
quicker from a preset to another like it’s explained in the §2.4.1 NOTE.

NOTE: At step 5 the microphones phantom power is off, so you can let the microphones plugged and
unmute the inputs without danger for speakers.

If you want to listen some audio contents, you must firstly unmute the inputs by clicking on the ‘Inputs
Mute’ button and unmute the outputs by clicking the ‘Mute’ button in the upper banner.

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5.5 Reducing latency

For some applications, latency higher than a few milliseconds can be problematic. Latency highly depends
on two parameters: the buffer size and the sampling frequency.

With standard optimizer settings, the following values can be used as reference:

To reduce latency (only if it’s necessary !):

 You can change the sampling frequency and the buffer size of your unit according to the table

above. This can be done in the Setup/Clock page. Changing the buffer size requires rebooting the
processor. Switching to a smaller buffer size can result in clicks and sync loss depending on the
amount of CPU resources of your unit.

 In the Optimizer Settings/Settings/Main settings tab you can also try to change the Optimize

setting to “Amplitude” or “Low range only”. Don’t forget to hit “Apply changes”.

 If no latency is allowed, you can just Bypass the Optimizer using the bypass button in the upper

bar at the top of the screen. The resulting latency is the AD/DA conversion latency only as the
processing section is bypassed.
On the other hand, turning the Optimization Off in the Optimizer Settings/Runtime page does not
reduce latency since the audio still pass through the PC.

Note: Latency can be monitored in details in the Processor/Master page.

Sampling Frequency

Buffer Size

Latency

44,1 kHz

256

28,2 ms

44,1 kHz

512

44,4 ms

48 kHz

256

23,2 ms

48 kHz

512

25,4 ms

88,2 kHz

256

20,1 ms

88,2 kHz

512

28,2 ms

96 kHz

256

17,4 ms

96 kHz

512

23,2 ms

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6 Appendix

6.1 Arborescence of the menus

Optimizer

Settings

Runtime

Settings

Configure

optimization

Runtime

Enable/Disable

Automatic

correction

Positions

Check speaker

positions

Calibration

Manage and

perform

calibration

Graphs

Analyse your

system's

performance

with and without

Optimizer

Amplitude

Phase

Impulse reponse

Group Delay

Meters

Check inputs

and outputs

levels

Master

Configure master

level display

and master delay

Inputs

Inputs Gains

EQ

Noise generator

Solo / Mutes

Outputs

Outputs Gains

FIR EQ / EQ

Solo / Mutes

Output Delays

Set individual

delays on

your outputs

Sources

Set inputs format

and sources

Speakers

Speakers Setup

Active Xovers

Configure active

cross overs

Clock

Set clock mode

and source

Sources Routing

Inputs Routing

Speakers Routing

Outputs Routing

Config Editor

Advanced

settings

System Status

System settings

Presets 1-9

Save and load

Presets 1 to 9

Presets 10-19

Save and load

Presets 10 to 19

Presets 20-29

Save and load

Presets 20 to 29

Preset Info

Information

regarding

current preset

About

Information

Regarding

Your machine

Processor

Setup

Presets

Help

Network

Network

settings

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6.2 Signal Flow of the Ovation

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6.3 Bypass

The following table describes which parameters are affected by the different bypass modes: