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REAL TIME EQUALIZER (RTEQ) v3.00
DirectX 7.0 or later
Soundcard
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DESCRIPTION
Real-time, software equalizer.
Dynamic equalizing optional
Flexible channel configuration from 2 up to 16384(!) channels, and a master channel.
Flexible dynamic range max. -INF dB to +45.1 dB (!DANGER!)
Flexible design: the equalizer can resize its sliders in the way you can access them easily. An example follows later
With skins you can change the look of RTEQ according to your own taste. This feature will be enhanced in the future
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!WARNING!
This equalizer is fully software, but there is danger of ear damage! A sub-band
peak (a slider is in a high position all others in its surrounding are low and
the dynamic range is large) can damage the sense of that frequency! If you hear
a constant noise in your ear after you closed the equalizer, do not use the
equalizer again or reduce its dynamic range!
The best suited range is of 10 dB or smaller.
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Select an input and from your mixer device.
But do NOT select "Wave/DirectSound" or "What U Hear" as input! That will cause feedback effects.
Select as output "Wave/DirectSound".
Start the equalizer.
The first vertical slider is the master volume.
The next sliders are the sub-band channel volumes. Be careful, they have great dynamic ranges.
TIP:
You may experience noise in your sound introduced by the equalizer.
The solution is that you select a lower master volume and increase the volume at
your mixer device or at your final amplifier.
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Flexible design means at RTEQ that it will automatically place the sliders in the way you can best access them. Unlike other equalizers you can change its window size and the number of frequency sliders. If you change its window size RTEQ will automatically resize the sliders and if you choose to use more or less sliders it will fit them in the window. So the RTEQ can look like this ...
33 bands: 1 master + 32 freq. sliders
... or like this ...
32 band: 1 master + 31 freq. sliders
... or, if you have only three sliders, like this:
3 band: 1 master + 2 freq. sliders
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In order to access the preferences dialog you must click on the system menu and go down with the mouse to select the preferences menu item.
The higher the better the quality of the sound.
Higher frequencies also generate greater processor load.
If you select a frequency higher than your sound card can deliver, the data will be interpolated to that frequency but it doesn't contain any additional information. So regard the maximum sample frequency of your sound card as the maximum sample frequency.
Standards are 8000, 11025, 22050, 44100, 48000.
These are the sound channels used as input/output.
Choose mono for a processor with low capacity.
Now you can choose only between mono and stereo.
This is the size of the block the FFT can decompose.
The higher this value the better the sound quality, and
the more sub-band channels you can choose but
that increases the computational demand for the processor.
This is the number of sliders which are used for the equalizer.
The more you use the smoother gets the equalizer function.
If you choose more than Transform size sliders some of them may be ignored.
PRO: You cannot equalize a frequency which is higher than the Nyquist frequency. So be aware that the maximal accessible frequency is half the Sample frequency.
Is the scale factor for the dynamic range.
If you move a slider, its value will be multiplied with the dynamic range.
Be cautious using large dynamic ranges!
TIP: The more frequency sliders you specify the less audible gets the impact of each slider. For example if you have a configuration with 3 and and one with 300 frequency sliders: one of the 300 sliders will have an impact of 1/100 of one of the 3 sliders. This problem can be solved when using a greater dynamic range.
PRO: If you move one slider to the bottom at the last possible position the amplification is -INFdB. That means that this frequency will be cut off.
This is the application's priority code.
The higher the priority the better the sound (without loops or interruptions) but
A high priority can block the system on processors with small capacity.
CAUTION: Realtime priority can block harddisk cache or other system kernel activities if the processor is used with 100% capacity.You can choose between:
LowNormal
High
Real-time
TIP: A high priority is normally not needed. If the equalizer cannot play continuously you should consider specifying a smaller Transform size.
This is the size of the capturing buffer.
The lower that value the less is the response time of the equalizer but also can cause problems (if the hardware buffer is larger than this software buffer or if the system is overloaded).
It must be a multiply of Transform size.
Uses dynamic instead of static equalizing.
Produces a higher quality sound.
Increases the computational demand.
Only weak frequency components are amplified, the strong frequency components are left unchanged. The effect is that some details in the sound are made audible.
Specifies the treshold of the sound power where the equalizer doesn't have effect.
Only frequencies below the treshold are equalized.
The equalizer also amplifies the frequencies in the neighbourhood of the weak frequencies.
This produces a mix between static and dynamic equalizing.
The option reduces the noise of dynamic equalizing a bit.
Blurring the EQ impact demands some additional computation.
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Here
is an explanation of the EQUALIZER.INI, if you want to change attributes which
are not available on the graphic interface.
Section [Skin]
Name
The name of the skin. This equals the name of the directory where the skin is saved.
Track
The filename of the track bitmap. If the name is not valid, or an error occurs while loading the bitmap the default track bitmap will be used.
Bar
The filename of the bar bitmap. If the name is not valid, or an error occurs while loading the bitmap the default bar bitmap will be used.
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Last updated 10-12-2000
(DD-MM-YYYY)