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<blockquote data-quote="Here-I-Come" data-source="post: 5658442" data-attributes="member: 572320"><p><strong>The features of the UCS Pro are second to none. Here is quick, well not so quick run down of the features:</strong></p><p></p><p>Edit Mode (Password Protection)</p><p></p><p>UCS PRO incorporates a password system and your installer may have set a password to ensure that vital settings are</p><p></p><p>not altered. In this case you will NOT be able to alter all of the parameters via the PC Editor.</p><p></p><p>In the PC Editor, select FILE &gt; OPTIONS and then the LOCK tab. This will present you with a menu:</p><p></p><p><strong>Full Edit:</strong> This is the DEFAULT mode. No password is set at the factory. From here you can lock the unit by clicking within</p><p></p><p>the empty Partial Lock or Total Lock buttons. A text box will open, allowing you to enter a password of your own choice.</p><p></p><p>Click OK. It is important that you remember this password.</p><p></p><p><strong>Partial Lock:</strong> In this mode, only the INPUT parameters may be edited. This is useful since it allows critical settings such</p><p></p><p>as the crossover points to be locked, while still allowing the user access to some overall EQ adjustment.</p><p></p><p>To enable Partial Lock, a new password must be entered as above. To disable the lock, click within the empty Full Edit</p><p></p><p>button. A text box will open. Type the password that was used to set lock mode. Press OK.</p><p></p><p><strong>Total Lock:</strong> No editing is possible in this mode. To enable Total Lock, a new password must be entered as above.</p><p></p><p>To disable the lock, follow the same instructions for disabling Partial Lock.</p><p></p><p>Parameter Menus &amp; System Set-up</p><p></p><p><strong>Introduction to the PC EDITOR</strong></p><p></p><p>Click on one of the icons on the welcome screen (the block diagram) of the PC Editor. A window will appear showing one</p><p></p><p>of several 'pages' where you can set the parameters using virtual knobs and sliders or by typing the values. Here is a</p><p></p><p>brief overview of the various functions that make up the UCS PRO PC Editor. Each is explained in more detail in the next</p><p></p><p>section.</p><p></p><p>This page presents 8 virtual slide controls, similar to what you would see on a professional sound mixing desk. From here</p><p></p><p>you can adjust the input/output LEVELS and output channel MUTE and PHASE.</p><p></p><p><strong>GLOBAL:</strong></p><p></p><p>Within the PC Editor's tabbed menu view, you will see a tab labelled "Global" on the far right. This window shows the response curves of all channel outputs and provides a convenient overview of your settings.</p><p></p><p><strong>NOISE GATE:</strong></p><p></p><p>You can set the UCS PRO to cut the signal if it falls below a certain level. Most often used to cut the background noise between music tracks.</p><p></p><p><strong>MASTER DELAY:</strong></p><p></p><p>Allows a delay to be applied to the signal fed from one or both of the Input Channels.4</p><p></p><p><strong>CROSSOVER (XOVER):</strong></p><p></p><p>The UCS PRO is equipped with independent HIGH-PASS and LOW-PASS filters on each of the 6 output channels. For each filter there are 10 different filter type/slope options.</p><p></p><p><strong>CHANNEL DELAY:</strong></p><p></p><p>Allows a delay to be applied in order to "time align" each individual output channel. Includes a graphical interface of 6 virtual speakers.</p><p></p><p><strong>PARAMETRIC EQUALIZATION (EQ):</strong></p><p></p><p>Each of the channels (both inputs and outputs) has a fully variable 5-band parametric equalizer.</p><p></p><p><strong>DYNAMIC GAIN CONTROL (CMP/LIM):</strong></p><p></p><p>Each Output channel has its own independent COMPRESSOR/LIMITER. Careful setting of the parameters will help to</p><p></p><p>maintain a more consistent and pleasurable listening level and extend the performance of your speakers.</p><p></p><p><strong>PARAMETRIC EQUALIZATION (EQ):</strong></p><p></p><p>5-band full parametric equalization is provided on each of the Input and Output channels. The Center Frequency, Gain and Bandwidth are all variable. In addition, the UCS PRO allows you to select from a list of different EQ contours.</p><p></p><p><strong>Freq:</strong> The center frequency of each band can be set between approximately 16Hz and 16,000Hz.</p><p></p><p><strong>Gain:</strong> The level at the chosen center frequency can be increased or reduced by 15dB.</p><p></p><p><strong>Band:</strong> This dictates how the frequencies next to the center frequency will be affected during Gain boost or cut. With a</p><p></p><p>narrow bandwidth (minimum 0.05 octave), frequencies other than the center frequency and its immediate neighbours will</p><p></p><p>be largely unaltered. With a broad bandwidth (maximum 3 octaves), gain changes will be spread more widely. The effect</p><p></p><p>can be seen on the PC Editor's real-time graph.</p><p></p><p><strong>Type:</strong> This section allows several types of EQ contour to be applied. Depending on the EQ Type selected, certain parameters</p><p></p><p>(Gain, Bandwidth) are automatically set (they become greyed out).</p><p></p><p><strong>Peaking -</strong> This default setting is the traditional parametric mode, allowing gain cut or boost at and around the chosen</p><p></p><p>center frequency.</p><p></p><p><strong>LowSh6 -</strong> This creates a shelved response with a 6dB/octave slope, with the frequency shift occurring towards the lower</p><p></p><p>end of the frequency scale. Bandwidth adjustment is disabled in this mode.</p><p></p><p><strong>LowSh12 -</strong> A shelved response as above but with a 12dB/octave slope.</p><p></p><p><strong>HiSh6 -</strong> This creates a shelved response with a 6dB/octave slope, with the frequency shift occurring towards the higher</p><p></p><p>end of the frequency scale. Bandwidth adjustment is disabled in this mode.</p><p></p><p><strong>HiSh12 -</strong> A shelved response as above but with a 12dB/octave slope.</p><p></p><p><strong>MASTER &amp; CHANNEL DELAY:</strong></p><p></p><p>A wide ranging amount of delay, from as little as 21 microseconds (that's 0.021ms, equivalent to a distance of a little over</p><p></p><p>7mm), can be set on each of the input and output channels. This allows the signal transmission from the various speaker</p><p></p><p>drive units to be aligned to the listening position (a process known as "time alignment"). Values can be input as distance</p><p></p><p>(millimeters/meters) or time (microseconds/milliseconds).</p><p></p><p><strong>Channel (Output) Delay:</strong> A small amount of delay can be applied to the signal from each output channel. The amount of delay is usually calculated from physical measurements of the distances between the various speakers and the driver's ears. The delay compensates for the difference in speaker mounting positions, with the speaker furthest away (commonly the woofer in the trunk) being the reference point to which all other speakers are aligned (i.e. delayed).</p><p></p><p>When applied correctly to all speakers in the system, the result is an improvement in the apparent stage position, height and depth, and the location and focus of the performers on the 'virtual stage' that should extend across the dashboard. Ideally there should also be the feeling that the low bass is coming from ahead of you, even where the woofer is physically behind you.</p><p></p><p><strong>Master (Input) Delay:</strong> From here you can delay an input signal before it is sent to the channel routing stage, so that all the outputs fed by that input are delayed by the same amount. This feature is more applicable to PA applications, where it is used to compensate for the distance between blocks of speakers in large concert halls and stadiums, but it has applications</p><p></p><p>in the car too.</p><p></p><p>For example, if you are not feeding your subwoofer(s) through the UCS PRO, then you could use the Input Delays to time align your mid-woofers (for example) to the subwoofer(s) and then use the Output Delays to time align the remaining speaker drive units (i.e. the mids and tweeters) to the mid-woofers. This would ease the job of fine-tuning the alignment of the subwoofer(s) to bring the bass forward, by only having to adjust the Input Delay settings.</p><p></p><p>Alternatively, you may like to try a creative use for the Input Delay. Apply a very small amount of delay on one channel only - this can give an added sense of stereo width that, while artificial, can provide quite a striking effect.</p><p></p><p>Temperature Compensation: This allows the current in-car temperature to be keyed in. The system uses</p><p></p><p>this value to compensate for any variation in the speed of sound when calculating time delay.</p><p></p><p><strong>ADVANCED TIP</strong></p><p></p><p>This is a feature carried over from the pro audio version of the software and is more applicable to PA applications, inwhich it allows the delays to be set during the sound-check and quickly adjusted at the time of the concert if necessary. The distances between speaker banks in these situations can be quite large and the difference clearly audible. In the car the improvement will be much more subtle, but one application is in Autosound Competition. Here the demands for the best possible imaging make even the smallest improvement worth doing. If the temperature inside the vehicle during the contest is dramatically different from when the system was set-up, here is where you can quickly compensate for it.</p><p></p><p><strong>CROSSOVER FILTERS:</strong></p><p></p><p>The UCS PRO is equipped with independent High-Pass and Low-Pass filters on each of the 6 output channels. For each filter there are 10 filter type/slope options:</p><p></p><p><strong>Butterworth</strong> type with 6dB, 12dB, 18dB or 24dB per octave slope</p><p></p><p><strong>Bessel</strong> type with 12dB, 18dB or 24dB per octave slope</p><p></p><p><strong>Linkwitz-Riley</strong> type with 12dB, 24dB or 48dB per octave slope</p><p></p><p>The different filter characteristics can be seen on the PC Editor's graphical display. For each of the filters, the crossover</p><p></p><p>point can be set between approximately 16Hz and 16kHz. The filter can be bypassed by selecting THRU.</p><p></p><p>Using both the High-Pass and Low-Pass filters together creates what is known as a Band-Pass filter, most often used for optimizing the signal destined for midrange and mid-bass speakers. Also for subwoofers, by using the High-Pass as a subsonic filter typically in the range 16-30Hz.</p></blockquote><p></p>
[QUOTE="Here-I-Come, post: 5658442, member: 572320"] [B]The features of the UCS Pro are second to none. Here is quick, well not so quick run down of the features:[/B] Edit Mode (Password Protection) UCS PRO incorporates a password system and your installer may have set a password to ensure that vital settings are not altered. In this case you will NOT be able to alter all of the parameters via the PC Editor. In the PC Editor, select FILE > OPTIONS and then the LOCK tab. This will present you with a menu: [B]Full Edit:[/B] This is the DEFAULT mode. No password is set at the factory. From here you can lock the unit by clicking within the empty Partial Lock or Total Lock buttons. A text box will open, allowing you to enter a password of your own choice. Click OK. It is important that you remember this password. [B]Partial Lock:[/B] In this mode, only the INPUT parameters may be edited. This is useful since it allows critical settings such as the crossover points to be locked, while still allowing the user access to some overall EQ adjustment. To enable Partial Lock, a new password must be entered as above. To disable the lock, click within the empty Full Edit button. A text box will open. Type the password that was used to set lock mode. Press OK. [B]Total Lock:[/B] No editing is possible in this mode. To enable Total Lock, a new password must be entered as above. To disable the lock, follow the same instructions for disabling Partial Lock. Parameter Menus & System Set-up [B]Introduction to the PC EDITOR[/B] Click on one of the icons on the welcome screen (the block diagram) of the PC Editor. A window will appear showing one of several 'pages' where you can set the parameters using virtual knobs and sliders or by typing the values. Here is a brief overview of the various functions that make up the UCS PRO PC Editor. Each is explained in more detail in the next section. This page presents 8 virtual slide controls, similar to what you would see on a professional sound mixing desk. From here you can adjust the input/output LEVELS and output channel MUTE and PHASE. [B]GLOBAL:[/B] Within the PC Editor's tabbed menu view, you will see a tab labelled "Global" on the far right. This window shows the response curves of all channel outputs and provides a convenient overview of your settings. [B]NOISE GATE:[/B] You can set the UCS PRO to cut the signal if it falls below a certain level. Most often used to cut the background noise between music tracks. [B]MASTER DELAY:[/B] Allows a delay to be applied to the signal fed from one or both of the Input Channels.4 [B]CROSSOVER (XOVER):[/B] The UCS PRO is equipped with independent HIGH-PASS and LOW-PASS filters on each of the 6 output channels. For each filter there are 10 different filter type/slope options. [B]CHANNEL DELAY:[/B] Allows a delay to be applied in order to "time align" each individual output channel. Includes a graphical interface of 6 virtual speakers. [B]PARAMETRIC EQUALIZATION (EQ):[/B] Each of the channels (both inputs and outputs) has a fully variable 5-band parametric equalizer. [B]DYNAMIC GAIN CONTROL (CMP/LIM):[/B] Each Output channel has its own independent COMPRESSOR/LIMITER. Careful setting of the parameters will help to maintain a more consistent and pleasurable listening level and extend the performance of your speakers. [B]PARAMETRIC EQUALIZATION (EQ):[/B] 5-band full parametric equalization is provided on each of the Input and Output channels. The Center Frequency, Gain and Bandwidth are all variable. In addition, the UCS PRO allows you to select from a list of different EQ contours. [B]Freq:[/B] The center frequency of each band can be set between approximately 16Hz and 16,000Hz. [B]Gain:[/B] The level at the chosen center frequency can be increased or reduced by 15dB. [B]Band:[/B] This dictates how the frequencies next to the center frequency will be affected during Gain boost or cut. With a narrow bandwidth (minimum 0.05 octave), frequencies other than the center frequency and its immediate neighbours will be largely unaltered. With a broad bandwidth (maximum 3 octaves), gain changes will be spread more widely. The effect can be seen on the PC Editor's real-time graph. [B]Type:[/B] This section allows several types of EQ contour to be applied. Depending on the EQ Type selected, certain parameters (Gain, Bandwidth) are automatically set (they become greyed out). [B]Peaking -[/B] This default setting is the traditional parametric mode, allowing gain cut or boost at and around the chosen center frequency. [B]LowSh6 -[/B] This creates a shelved response with a 6dB/octave slope, with the frequency shift occurring towards the lower end of the frequency scale. Bandwidth adjustment is disabled in this mode. [B]LowSh12 -[/B] A shelved response as above but with a 12dB/octave slope. [B]HiSh6 -[/B] This creates a shelved response with a 6dB/octave slope, with the frequency shift occurring towards the higher end of the frequency scale. Bandwidth adjustment is disabled in this mode. [B]HiSh12 -[/B] A shelved response as above but with a 12dB/octave slope. [B]MASTER & CHANNEL DELAY:[/B] A wide ranging amount of delay, from as little as 21 microseconds (that's 0.021ms, equivalent to a distance of a little over 7mm), can be set on each of the input and output channels. This allows the signal transmission from the various speaker drive units to be aligned to the listening position (a process known as "time alignment"). Values can be input as distance (millimeters/meters) or time (microseconds/milliseconds). [B]Channel (Output) Delay:[/B] A small amount of delay can be applied to the signal from each output channel. The amount of delay is usually calculated from physical measurements of the distances between the various speakers and the driver's ears. The delay compensates for the difference in speaker mounting positions, with the speaker furthest away (commonly the woofer in the trunk) being the reference point to which all other speakers are aligned (i.e. delayed). When applied correctly to all speakers in the system, the result is an improvement in the apparent stage position, height and depth, and the location and focus of the performers on the 'virtual stage' that should extend across the dashboard. Ideally there should also be the feeling that the low bass is coming from ahead of you, even where the woofer is physically behind you. [B]Master (Input) Delay:[/B] From here you can delay an input signal before it is sent to the channel routing stage, so that all the outputs fed by that input are delayed by the same amount. This feature is more applicable to PA applications, where it is used to compensate for the distance between blocks of speakers in large concert halls and stadiums, but it has applications in the car too. For example, if you are not feeding your subwoofer(s) through the UCS PRO, then you could use the Input Delays to time align your mid-woofers (for example) to the subwoofer(s) and then use the Output Delays to time align the remaining speaker drive units (i.e. the mids and tweeters) to the mid-woofers. This would ease the job of fine-tuning the alignment of the subwoofer(s) to bring the bass forward, by only having to adjust the Input Delay settings. Alternatively, you may like to try a creative use for the Input Delay. Apply a very small amount of delay on one channel only - this can give an added sense of stereo width that, while artificial, can provide quite a striking effect. Temperature Compensation: This allows the current in-car temperature to be keyed in. The system uses this value to compensate for any variation in the speed of sound when calculating time delay. [B]ADVANCED TIP[/B] This is a feature carried over from the pro audio version of the software and is more applicable to PA applications, inwhich it allows the delays to be set during the sound-check and quickly adjusted at the time of the concert if necessary. The distances between speaker banks in these situations can be quite large and the difference clearly audible. In the car the improvement will be much more subtle, but one application is in Autosound Competition. Here the demands for the best possible imaging make even the smallest improvement worth doing. If the temperature inside the vehicle during the contest is dramatically different from when the system was set-up, here is where you can quickly compensate for it. [B]CROSSOVER FILTERS:[/B] The UCS PRO is equipped with independent High-Pass and Low-Pass filters on each of the 6 output channels. For each filter there are 10 filter type/slope options: [B]Butterworth[/B] type with 6dB, 12dB, 18dB or 24dB per octave slope [B]Bessel[/B] type with 12dB, 18dB or 24dB per octave slope [B]Linkwitz-Riley[/B] type with 12dB, 24dB or 48dB per octave slope The different filter characteristics can be seen on the PC Editor's graphical display. For each of the filters, the crossover point can be set between approximately 16Hz and 16kHz. The filter can be bypassed by selecting THRU. Using both the High-Pass and Low-Pass filters together creates what is known as a Band-Pass filter, most often used for optimizing the signal destined for midrange and mid-bass speakers. Also for subwoofers, by using the High-Pass as a subsonic filter typically in the range 16-30Hz. [/QUOTE]
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