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  1. Dastrix and myself have been doing a lot of work on power response EQ and modal EQ lately, and we came across an aspect which I thought might be of interest for others here: The room we are looking at has a symmetric setup of the boundary walls and the speakers, but very disimilar acoustic properties on the left and right sidewall. Aesthetics dictate that nothing can be done about this. Listening to the left and right speaker individually, one finds a huge difference in the spectral balance. ETC measurements around the listening position (LP) show strong differences in the strength and timing of the early reflections between left and right speaker. The room impulse response (RIR) also shows that both speakers experience very different acoustic radiation impedance both in the modal and in the transition region. Ergo, the differences in balance are clearly apparent from measurements. We attempted to fix this balance problem. The minimum phase filter design was done using power averages of measured RIRs around the LP. We applied different time domain filters as recommended by various researchers to separate the perceptually relevant early part of the RIRs, and designed two sets of filters: one set based on power average of the RIRs from the left and right speaker seperately set based on the power average of the RIRs from both left and right speakers Due to the reasonable symmetry in the modal region, there were no significant differences between these filters. Things changed in the transition region - here the filters differ significantly if designed for both speakers individually. Some differences were apparent in the statistical region, but they were deemed reasonably small as to make a significant difference to the spectral balance. No matter what type of time domain filtering we employed, the spectral balance between the speakers always got worse if we used filters designed for each side individually. The balance issue always became the dominant factor when assessing the perceived quality; any improvement gained from the filtering was masked by the unbalance. The filter designed for left and right power averages instead performed very well. The balance issue remained the same, but the filtering improvements suddenly dominated the perceived quality. We learned three things from this: Firstly, strict symmetry is the key to good reproduction quality. The room we were loking at will require some tricky treatment or a rotation of the setup to improve the balance issue. Secondly, the time domain filtering approaches we tested were not capable of correctly representing the perceived spectral balance. More literature review is needed. Thirdly, when designing power response EQ and modal EQ for systems with notable spectral balance issues that arise from asymmetric acoustic boundary conditions, use power averages of both speakers as the design basis. Otherwise you exxagerate the balance issue and unwillingly reduce the perceived quality by introducing distraction.
  2. I have now had the Trinnov Altitude16 (a 16 channel surround sound processor and optimizer) in my home theatre system for a couple of days now. The Altitude16 (AL16) replaced my Onkyo PR-RZ5100 and Trinnov Amethyst 2 channel sound processor. Those on this forum know that I have been evolving my system for some time and recently I upgraded my 2 channel amplification with the Anthem STR power amplifier. I have retained my Elektra HD2 7 channel amplifier. With the acquisition of the AL16 and there only being XLR analogue outputs, I needed also to do away with the RCA cables connecting my former Onkyo, Amethyst. The only unbalanced cables being used now are the hybrid female XLR out to male RCA cables to my dual subwoofers. It is a bit of a pity that my SVS subs only have RCA inputs The obvious question for some people is WHY would I dispense with a perfectly good Onkyo PR-RZ5100 pre-amplifier? Well it is rather simple. Having been through the steep learning curve of integrating the Trinnov Amethyst into my system and knowing the improvement in sound that yielded for my 2 channel music duties, I thought well why not do the same for my movies/Netflix UHD experience. During the time I had my Amethyst I have become a Roon convert and this now all blends seamlessly into the whole package, particularly so now that I get a solid 48 Mbps NBN connection. Granted that during the last 2 years I have saved my pennies for the AL16, at this early stage I can only say that the AL16 is meeting my high expectations and is a quantum step up from the former 7.2 channel sound achieved with the Onkyo. I think that IF one was to jump straight into the AL16 upgrade path without previously experiencing the setup with the Amethyst, you would be in for a very steep learning curve. So, for me this time, the curve has not been so steep. Having already been familiar with calibrating the Amethyst was a huge bonus. At this point I must congratulate Trinnov in the support that they give. Before and after I purchased the AL16, I have fired off many many questions and I am happy to say that Antoine Selle (from Trinnov support in Paris) has been superb. We have been corresponding by email and despite the time zone difference, replies often arrived within 30 minutes!! You very rarely get this type of service in Australia. Also, very helpful has been David Moseley from Cogworks (in QLD) in offering advice. As most should know Trinnov offer a 5 year warranty on their high-end products. I am feeling very secure that future software updates can/will be done remotely as they become available. I won’t go into the intricate details of the setting the AL16 up, other than to say that you need to be unhurried with a unit as sophisticated as this, as there are so many settings to bed down. The colour manual does a good job to explain the key elements of the AL16 package. To view results of the room optimisation and to operate the AL16 you need VNC software (so you can see all manner of graphs and settings and controls as I did with the Amethyst). I opted to use the Tight VNC software running on my PC and VNC Mocha on my iPad. The AL16 was instantly recognised on my network and all you had to do was to put in your serial number as the password and I was off and running. Suffice to say at present I have two pre-sets that I have called Roon Music (leveraging off my Tidal subscription and NAS drive) and another called Movies/TV. The Roon Music pre-set is a 2.2 channel setup with base management feeding my dual subwoofers. The Movies/TV pre-set is a 7.2 setup (I now have 2 spare channels of amplification … maybe I could go to 9.2 with some Atmos ceiling speakers in the future, but that might be for another day). It was quite remarkable that during the Roon Music calibration I made the deliberate effort to stay out of the room for fear of interrupting the process, well so I thought … in fact I was 2 metres out of the room but directly behind my rear seats (my theatre doors were open at the rear of my home theatre – their usual position). When I moved, the calibration process objected that there was too much movement, so I had to start again! Talk about precision and sensitivity!!! Now for the AL16 sound …. Last night I decided to be bold and watch a Netflix movie. This movie I chose was The Mule starring a very senior Clint Eastwood. Dialogue in some setups are a little unclear .. not so here, even when Clint Eastwood tended to mumble. Soundstage was very spacious and very coherent. Coherency is the single attribute that I used to describe the Amethyst sound (the direct result of Trinnov’s proprietary optimising software), and this is now replicated amongst 7 channels rather than just 2. I was very startled at one point in the movie when rifle shots rang out. The rifle shots (which emanated from the right rear channels) had a sharp cracking sound to them that preceded the bass sound … this sounded very life-like. The Onkyo rifle sounds are somewhat muddied by comparison to the AL16. Then I put on one of my favourite UHD disks, La La Land, to listen to Damien Chazelle’s wonderful score. Well, I was not disappointed. Magnificent and glorious are words to use here and I would suggest that this disk be a reference test for the musicality of a sound processor being fed HDMI input. The Roon Music pre-set in the AL16 is doing an equally good job as did the Amethyst for 2 channel music, although I am still editing the Target Curve for this pre-set and I am sure that I will take some time to get this exactly where I want this. Another aspect that I had to encounter was to edit my ‘devices’ and ‘activities’ in my Harmony Remote. So far this is working well, and I reported to Antoine and David that I am not having ANY HDMI issues at all. I have retained the setup using just ONE 2.0 HDMI out that feeds an HDMI splitter to serve my Panasonic 4K TV and JVC 7900 projector. Time to enjoy and tweak, reflect, enjoy and then tweak some more. Perhaps separate pre-sets for each of my Oppo 203 UHD player, Foxtel IQ4 box and Apple 4K TV.
  3. Item: White Instruments 4700-2Location:Maitland (Happy to post)Price:$450Item Condition:UsedReason for selling:Culling the herdPayment Method: Pickup - Cash, Paypal, COD OnlyExtra Info: Item: I have two of these available, both unlocked. If you want to sort out a system with a truly clean solution this is for you! The 4700-2 is a digitally controlled, R-C active, 28 band, one-third octave graphic equalizers with adjustable high and low-pass filters and 10 memory presets. They are constructed with a full front panel to control every aspect of the equalizer's operation. http://www.whiteinstruments.com/sp4700.htm http://vintageking.com/white-instruments-4700-2Location:
  4. Further information: Bought new from miniDSP September 2016. It has been an integral part of my system until recently and provides a serious upgrade for the money. Highly recommended. It has been upgraded to Dirac 2.0 and includes the supplied remote. Also included is a bound set of printed instructions. I now use Roon convolution instead which reduced the box count. Please note: The price does not include the calibrated Umik-1 microphone. These are easily available but happy to talk about it. You will have to change over the licence but that is apparently quite straight forward. miniDSP advise changeover can take a couple of working days. Photos: Advertisements without photos of the actual item will not be approved.
  5. For sale is one Lyngdorf TDAI-2170 integrated amplifier and audio processor with Lyngdorf’s incredible ROOMPERFECT room correction. Functionally flawless and cosmetically 9/10 – one minute chip on the right-hand side panel, see photo. Unit is the fully upgraded version with all available additional modules installed: HDMI module with 3 inputs (≤192kHz/24 bit) and one output / CEC and ARC compatible Streaming USB input module (≤384kHz/32 bit + DXD / DSD64 / DSD128), High-end analog input module (1 Phono (MM), 3 analog Line inputs) Asking price is 70% off original RRP in Australia. I am the second owner and purchased it from the original owner in May 2019. He bought the Lyngdorf new from Audio Connection here in Sydney in late 2017. The unit was checked at Audio Connection when I bought it and given a flawless bill of health. Comes with remote, power cable, XLR Roomperfect measuring microphone and 8m XLR cable to connect the microphone to the TDAI-2170. Microphone stand is not included (owner could not locate the stand when I bought it). I did update the firmware when the latest 1.41a version was released in June this year and have factory reset the unit so it is ready to run a new setup. This has been my main amplifier in the living room for the last 2+ years and is being sold after consolidating my setup to one single location in the main living area with the AVR now doing both pre-amp and room correction duties for music and TV/Movies. The Lyngdorf has been amazing and brought my listening experience to a new level. The Roomperfect correction worked incredibly well in my odd shaped, half open and untreated living space. Great to seamlessly integrate a subwoofer into the mix, too. The auto calibration works very well, and fine tuning is no issue with a good number of voicing/target curves and advanced settings that can be user configured, e.g. hi/low pass filters including type and slopes (for every single output), multi speaker and configuration setups, time delays etc. Supports ARC/CEC over HDMI, 4k HDR and has a lipsync adjustment to ensure everything is perfectly aligned with your TV also. Link to Lyngdorf site for specifications and further information: https://lyngdorf.steinwaylyngdorf.com/lyngdorf-tdai-2170/ I do not have the original box but unit will be very well packed if shipping is required, including box, bubble wrap and MD/HD foam. Insured shipping to capital cities/areas included at the asking price (will get a quote if very remote). Usually prefer local pick-up although this might not be possible given current Sydney conditions. Cheers and thanks for looking, Ralf
  6. Item: Lyngdorf TDAI2200RP digital amplifier. Location: Yaroomba, Sunshine coast, QLD. Price: $3950 negotiable. Item Condition: tiny scratch on top of amplifier, otherwise in very good condition. I have the original carton, so can ship interstate. Reason for selling: I need the money, and it doesn't see much use at the moment. Payment Method: Pickup - Cash, Paypal Extra Info: It is fully optioned with the AD input module, and the RP module. It comes with a remote, mic, mic stand, mic cables, serial cable, and the original power cable. Pictures:
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