5 hours ago, zydeco said:

So volume control is done via the pre-amp? Have you tried using the mini-DSP 10x10 volume control (so that the A/D is done at maximum volume)?

 

No I haven't, z - for the (possibly misunderstood) reason that I was told using the digital volume control would drop bits (so no good at low volume)! 

 

What I am going to do, though (still under construction), is:

• use an ADC to digitise my phono stage signal
• remove my preamp
• use a 4-input digital selector to choose from: digitised phono / CDP / DAB+ tuner / Foxtel box
• feed the selected source into my miniDSP unit
• put an 8-channel digitally controlled, analogue volume control ("RelaiXed") between the miniDSP unit and my 8x power amp channels.

As a result, processing inside the miniDSP unit will happen at maximum volume.

 

5 hours ago, zydeco said:

 

One thing that isn't clear to me is whether one should or shouldn't account for the different distances between the main speakers / subs and listening position. The rationale is clear but, on the other hand, if this is ignored (so that the main speakers are just delayed to account for the sub x/o delay) then all the subwoofers will energise the room / modes at the same time as opposed to this being done at different times (but direct sound getting to the LP at the same time.)

 

 

That's an interesting concept, z. 

 

What I did was adjust the miniDSP delay (of the main speakers) whilst listening (with some friends) to track 1 of the Sheffield Labs "Drum Track" CD.  We could clearly hear the bass drum become sharper when the delay was altered.  We went up from 4ms (the amount suggested by the physical displacement of the subs, relative to my Maggie bass panels) to 9ms - where the drum transient was crispest - and then beyond.  8.5ms and 9.5ms ... were worse than 9ms - so we settled on 9ms!

 

AIUI, when you get the delay correct ... the harmonics of the bass drum strike all arrive at the same time; when the delay is wrong ... harmonics arrive at different times - smearing the drum strike.

 

Andy

 

18 hours ago, andyr said:

What I am going to do, though (still under construction), is:

• use an ADC to digitise my phono stage signal
• remove my preamp
• use a 4-input digital selector to choose from: digitised phono / CDP / DAB+ tuner / Foxtel box
• feed the selected source into my miniDSP unit
• put an 8-channel digitally controlled, analogue volume control ("RelaiXed") between the miniDSP unit and my 8x power amp channels.

That's similar to my set-up - fully digital to mini-DSP with volume control after the final D/A. One thing, though, that I've been pondering is whether to do the volume control in the digital domain ahead of the mini-DSP. I'm thinking that this would make sense in situations where there is good gain matching through the system and the digital volume control is 32 or (better still) 64 bit. 

 

18 hours ago, andyr said:

That's an interesting concept, z. 

 

What I did was adjust the miniDSP delay (of the main speakers) whilst listening (with some friends) to track 1 of the Sheffield Labs "Drum Track" CD.  We could clearly hear the bass drum become sharper when the delay was altered.  We went up from 4ms (the amount suggested by the physical displacement of the subs, relative to my Maggie bass panels) to 9ms - where the drum transient was crispest - and then beyond.  8.5ms and 9.5ms ... were worse than 9ms - so we settled on 9ms!

 

AIUI, when you get the delay correct ... the harmonics of the bass drum strike all arrive at the same time; when the delay is wrong ... harmonics arrive at different times - smearing the drum strike.

 

Andy

 

Interesting. Is there much of a difference in the distance between the main speakers to listening position and subs to listening position? Sounds like these distances are more or less the same so the delay is just adjusting for the group delay of the subs at the cross over point. Have you found that the optimal delay changes dependent on the x/o frequency?

7 minutes ago, zydeco said:

 

Interesting. Is there much of a difference in the distance between the main speakers to listening position and subs to listening position? Sounds like these distances are more or less the same so the delay is just adjusting for the group delay of the subs at the cross over point.

 

 

Subs are about 1.3m further away from my ears than the mass panels - hence I started off with 4ms delay.  The 9mS takes into account the group delay of the subs at the XO point (100Hz / 24dB).

 

7 minutes ago, zydeco said:

 

Have you found that the optimal delay changes dependent on the x/o frequency?

 

 

It will ... but I have not experimented with lowering the XO freq ... as:

1. the subs don't bring attention to themselves at the current frequency (and bcoz I have 2 of them, symmetrically arranged wrt the Maggie bass panels, I don't get any attention drawn to sub frequencies).
2. using cones for bass guitar and drum fundamentals delivers more slam than if these freqs were being reproduced by the bass panels.
3. the higher the XO point, the less bass panel amplifier power is required (so the more headroom I have, with my current bass amp).
4. as my Maggie bass panels are 'single ended' (magnets on 1 side of the mylar only), the louder and lower the note ... the further the mylar (and the signal wires) travel away from the magnets.  The more the excursion ... the greater the distortion - so freeing up the bass panels from reproducing low notes, reduces distortion.

 

Andy

 

I have now got to work on my 'lack of soundstage depth' problem.

 

In my last house, I had my Maggies in a nice big room - 8m x 5.1m ... with a cathedral ceiling that was 2.7m at the side (long) walls and ~5.5m in the centre.  (I forget the exact height - I specified the rake angle between the 2 ceiling panels to be 100 deg ... so that I wouldn't get the infinitely repeating reflection from floor up to one ceiling panel, horizontally across to the other – then down to the floor ... and then up to the ceiling panel to repeat the reflection, which a 90 deg rake would've delivered.)

 

The room worked very well and, because of the length, I was able to have my Maggies 1.6m (1/5th room length) off the front wall - which gave me a great soundstage.  I then added a pair of DIY 'Room Tunes' – and got more soundstage depth!  ?  (Room Tunes were a commercial product from the mid 80s (I think) which didn't last long.  What they did - for Maggies, anyway - was diffuse the reflections from the ribbons off the front wall to the listener.)

 

Anyway, a guy named Jon Risch published a DIY design for Room Tunes, on Audio Asylum - basically, each Room Tune consists of 3 lengths of 50mm plastic pipe fixed to a base so they stood about 18mm apart but not quite parallel.  I made up a pair of these and found that, when I placed them about 100mm off the front wall, in line with the reflection off the front wall from the ribbons to my ears ... they greatly increased the depth of field I could hear.  Amazing!  With the Room Tunes in place, you could hear the sound stage extending a long way back ... laying them down on the floor reduced the depth to no more than where the front wall was!

 

 

 

Because of this experience, it seemed to me that - for dipoles, anyway - soundstage depth can be increased by diffusing the higher frequency reflections only ... you don't need to have a thick diffusor which diffusing LFs requires?  And a subsequent discussion on an SNA thread about diffusors under “Room Acoustics, Construction and Design” suggested that I was on the right track. 

 

Why this is important to me is that my current listening room is much smaller than what I used to have.    I can only have my panels 900mm off the front wall and as a result, I don't experience much in the way of soundstage depth.  So I was hoping that putting some kind of diffusor on the front wall - which is designed to work with HFs only - would deliver the increase in soundstage depth that I am craving.

 

Due to my previous good experience with plastic piping, I had been thinking of a vertical & horizontal lattice of 25mm OD pipes, say 50mm apart - and painted the same colour as the wall.  But the good wife wasn’t having a bar of plastic pipes on the wall!    (And it is a room that she uses, from time to time!)

 

Anyway, after some research on the net, she pointed me to a guy in the US who makes “wall sculptures” out of wood blocks, joined together with steel rod – which she would countenance having on the wall.  As he doesn’t ship outside the US, I decided I would make something better (bigger!) than what he does, myself! 

 

I started off by researching what widths and thicknesses of wood I could buy in Bunnings (this was important because Bunnings offers a cutting service – I don’t have a drop saw!).  Then I used Visio to draw up the design – which (inspired by the Melbourne Recital Centre Salon) ended up as 30 pieces of wood, of various types, widths, lengths and thicknesses, taking up a space which is 600mm high x just over 2m wide.  With a requirement from my wife that the pieces of wood had to be painted in colours that match the 4 chairs we have in the room.

 

 

This peculiar size is due to the wall behind my Maggies being:

1. sloping (due to Building Regs), with a pair of thin dormer windows, and
2. bisected by the bench which my gear rests on.  Below the bench is storage for LPs – which provides a diffusing surface – but there is also a 300mm high vertical panel above the LPs, which may also have to be treated with a diffusion layer, at some future stage.  (Depending on the success of the wall piece!)

 

 

 

 

Then I went and bought the pieces of wood from Bunnings (who cut them to length) – plus 2x 5m lengths of 5/16” diameter, thick-walled brass tube, to be used to join the pieces of wood together – and got to work!  Lots of sanding & drilling later, here is a pic of the pieces all laid out on the floor:

 

 

 

 

And after lots more drilling and tube-cutting, here is a pic of the structure all connected up with lengths of brass tubing.

 

 

 

 

Remaining tasks to be done are:

• Pull apart all the pieces of wood

• Get 24 pieces of wood, satin 2-pacced in the 4 chair colours … the remaining 6 pieces of wood are pine which I will satin Estapol, so as to match the wood used in the dormer window frames.

• Then connect all the pieces of wood together with the brass tubing – glueing the tubes in place.

• Fix the result to the (sloping) wall.

This is a problem still to be solved!  Currently, I am thinking of glueing the wood blocks to a sheet of frosted Perspex – which I can then screw to the wall studs. 

 

Then, of course, some serious listening is required … to decide whether I have been able to improve the depth of my sound stage – or whether it’s just a piece of wall art! 

 

Andy

 

Edited January 8, 20188 yr by andyr

23 minutes ago, andyr said:

I have now got to work on my 'lack of soundstage depth' problem.

 

In my last house, I had my Maggies in a nice big room - 8m x 5.1m ... with a cathedral ceiling that was 2.7m at the side (long) walls and ~5.5m in the centre.  (I forget the exact height - I specified the rake angle between the 2 ceiling panels to be 100 deg ... so that I wouldn't get the infinitely repeating reflection from floor up to one ceiling panel, horizontally across to the other – then down to the floor ... and then up to the ceiling panel to repeat the reflection, which a 90 deg rake would've delivered.)

 

 

The room worked very well and, because of the length, I was able to have my Maggies 1.6m (1/5th room length) off the front wall - which gave me a great soundstage.  I then added a pair of DIY 'Room Tunes' – and got more soundstage depth!  ?  (Room Tunes were a commercial product from the mid 80s (I think) which didn't last long.  What they did - for Maggies, anyway - was diffuse the reflections from the ribbons off the front wall to the listener.)

 

 

Anyway, a guy named Jon Risch published a DIY design for Room Tunes, on Audio Asylum - basically, each Room Tune consists of 3 lengths of 50mm plastic pipe fixed to a base so they stood about 18mm apart but not quite parallel.  I made up a pair of these and found that, when I placed them about 100mm off the front wall, in line with the reflection off the front wall from the ribbons to my ears ... they greatly increased the depth of field I could hear.  Amazing!  With the Room Tunes in place, you could hear the sound stage extending a long way back ... laying them down on the floor reduced the depth to no more than where the front wall was!

 

 

1st attached jpg

 

 

Because of this experience, it seemed to me that - for dipoles, anyway - soundstage depth can be increased by diffusing the higher frequency reflections only ... you don't need to have a thick diffusor which diffusing LFs requires?  And a subsequent discussion on an SNA thread about diffusors under “Room Acoustics, Construction and Design” suggested that I was on the right track. 

 

 

Why this is important to me is that my current listening room is much smaller than what I used to have.    I can only have my panels 900mm off the front wall and as a result, I don't experience much in the way of soundstage depth.  So I was hoping that putting some kind of diffusor on the front wall - which is designed to work with HFs only - would deliver the increase in soundstage depth that I am craving.

 

 

Due to my previous good experience with plastic piping, I had been thinking of a vertical & horizontal lattice of 25mm OD pipes, say 50mm apart - and painted the same colour as the wall.  But the good wife wasn’t having a bar of plastic pipes on the wall!    (And it is a room that she uses, from time to time!)

 

 

Anyway, after some research on the net, she pointed me to a guy in the US who makes “wall sculptures” out of wood blocks, joined together with steel rod – which she would countenance having on the wall.  As he doesn’t ship outside the US, I decided I would make something better (bigger!) than what he does, myself! 

 

 

I started off by researching what widths and thicknesses of wood I could buy in Bunnings (this was important because Bunnings offers a cutting service – I don’t have a drop saw!).  Then I used Visio to draw up the design – which (inspired by the Melbourne Recital Centre Salon) ended up as 30 pieces of wood, of various types, widths, lengths and thicknesses, taking up a space which is 600mm high x just over 2m wide.  With a requirement from my wife that the pieces of wood had to be painted in colours that match the 4 chairs we have in the room.

 

Visio pdf

 

 

This peculiar size is due to the wall behind my Maggies being:

 

1. sloping (due to Building Regs), with a pair of thin dormer windows, and

    

2. bisected by the bench which my gear rests on.  Below the bench is storage for LPs – which provides a diffusing surface – but there is also a 300mm high vertical panel above the LPs, which may also have to be treated with a diffusion layer, at some future stage.  (Depending on the success of the wall piece!)

2nd attached jpg

 

 

Then I went and bought the pieces of wood from Bunnings (who cut them to length) – plus 2x 5m lengths of 5/16” diameter, thick-walled brass tube, to be used to join the pieces of wood together – and got to work!  Lots of sanding & drilling later, here is a pic of the pieces all laid out on the floor:

 

 

3rd attached jpg

 

 

And after lots more drilling and tube-cutting, here is a pic of the structure all connected up with lengths of brass tubing.

 

 

4th attached jpg

 

 

Remaining tasks to be done are:

•  

  Pull apart all the pieces of wood

• Get

  24 pieces of wood, satin 2-pacced in the 4 chair colours … the remaining 6 pieces of wood are pine which I will satin Estapol, so as to match the wood used in the dormer window frames.

• T

  hen connect all the pieces of wood together with the brass tubing – glueing the tubes in place.

• F

  ix the result to the (sloping) wall.

   

This is a problem still to be solved!  Currently, I am thinking of glueing the wood blocks to a sheet of frosted Perspex – which I can then screw to the L2 Wall Art.pdfwall studs. 

 

 

 

Then, of course, some serious listening is required … to decide whether I have been able to improve the depth of my sound stage – or whether it’s just a piece of wall art! 

 

 

 

Andy

PS:  Apologies for not being able to put the attachments in their right place in the narrative.  I can't see how to do this in the new SNA environment.    (The '+' in a black circle at each of the attachments doesn't seem to do anything!)

 

 

I must admit I didn't realise how small your new room is and secondly , I have no idea how your art installation will affect the effect you are after but next time I come to Melbourne, I'll bring a couple of devices about the size of a shoe box lid that will do the job you want you can try for free. Promise.

6 minutes ago, guru said:

next time I come to Melbourne, I'll bring a couple of devices about the size of a shoe box lid that will do the job you want you can try for free. Promise.

So looking forward to this...

1 hour ago, guru said:

I must admit I didn't realise how small your new room is and secondly , I have no idea how your art installation will affect the effect you are after but next time I come to Melbourne, I'll bring a couple of devices about the size of a shoe box lid that will do the job you want you can try for free. Promise.

Excellent, g - I look forward to it greatly!  Please do get in touch before your next trip. 

 

(I am very curious as to how "a couple of devices about the size of a shoe box lid" can deliver me more soundstage depth!  )

 

Andy

 

5 minutes ago, andyr said:

Excellent, g - I look forward to it greatly!  Please do get in touch before your next trip. 

 

(I am very curious as to how "a couple of devices about the size of a shoe box lid" can deliver me more soundstage depth!  )

 

Andy

 

Just to reconfirm my opinion of what they do, I went and placed one in a system I have been running for a week just playing the new brahem album and without any adjustment , placed it between the speakers. It will be interesting to hear what the effect will be with the planar speakers.

Being the owner of Apogee Centaur Major hybrid ribbons, I am very interested in how this pans out! My ribbons are rear firing also, so am keen to find the best solution for providing soundstage depth behind them. I have them about a metre from the front wall..

5 hours ago, SETfan said:

Being the owner of Apogee Centaur Major hybrid ribbons, I am very interested in how this pans out! My ribbons are rear firing also, so am keen to find the best solution for providing soundstage depth behind them. I have them about a metre from the front wall..

 

Hi SETfan,

 

Well, I'll be posting after the listening test  - but, as I don't get the 2-pacced pieces of wood back until the 18th ... due to Christmas this probably won't be until late January. 

 

But hopefully @guru will have visited by then - so at least we'll be able to tell you how his "shoeboxes" went! 

 

Apogees have 2 or 3 drivers, do they not?  With the tweeter being a pleated ribbon (just like my Maggies have)?  If you have these tweeters on the inside (like the pic of my previous room showed) then I am confident my DIY Room Tunes would give you more depth if you put them in the same spot as my pic showed - in the path of the 'sound ray' going from the back of the ribbons, reflected off the front wall direct to your ears.

 

Each Room Tune is about 200mm wide and standing just under 1.5m high.  Each has a heavy wooden base, 150mm x 350mm, to keep the pipes standing upright.  If you're interested, as I can't use them in this new room I would sell them to you for $70 plus shipping (a bargain considering the materials cost for my current exercise - wood, brass tubing, tube cutters, glue and 2-paccing - is about $1,100!     And it involves 4 solid weekends of work!).

 

Regards,

Andy

 

Edited December 4, 20178 yr by andyr

Hi Andy,

My Apogees have a 40" ribbon with these facing on the inside like your Maggies. They are supplemented by a 10" cone woofer, and are around 1.6m tall.

I would love to try your room tunes out! Will send you a PM or email when I get a chance later on.

Cheers for that, it sounds like we have a similar goal for our similar speakers! 

Thanks, Mark

Sound stage depth is one challenge but there is another that's equally or perhaps even more important. The reflection off a bare flat surface creates comb filtering. It sounds bad in a highly reverberant room but in an average room, the worst aspects are tamed by furniture, furnishing, carpet etc. The unfortunate thing is that people often stop there and don't find out how much improvement they can get. In a system like this, which already sounds very good, it can come as a surprise. The right treatment takes you to another level of transparency and the sound becomes smoother and more natural.

 

With dipoles you can enhance the depth and at the same time get a more natural and transparent sound. Sound stage depth in a small room is always a challenge - your best chance is diffusion. What you are doing with diffusion is taking a discrete reflection and redirecting it in all directions, which tends to lead to the reflections arriving later having traveled further around the room. Therefore those reflections are coming to your ears at a lower level and later in time. This is similar to making your room larger except the sound would tend to be better than if you simply had a larger room.

 

So you have a few options for the front wall:

 

1. Diffuser - the ideal (acoustic) choice even if not your wife's first choice

2. Scatter panel

3. Wall art

4. Weird stuff that no one knows anything about

 

For your panel to work acoustically, it needs to operate either on the basis of amplitude or phase. Most diffusers work on the phase principle, where different depth parts provide high frequency diffusion for a limited range of HF where it matters most. With your panel, the depths are quite small and not much different, so it would work better on the principle of amplitude - like say for example RPD BAD panels or Vicoustic Wavewood. In other words, if you had an absorber (say black) behind your creation, the different sizes and widths would give you scattering, based on the fact that the gaps between would absorb.

 

So my suggestion in a nutshell: consider trying an absorber behind. It will give you a little absorption in the midrange and then scattering in higher frequencies.

1 hour ago, Red Spade Audio said:

 

So my suggestion in a nutshell: consider trying an absorber behind. It will give you a little absorption in the midrange and then scattering in higher frequencies.

 

 

Yes, a very sensible suggestion, Paul.  Thanks. 

 

What do you suggest to use as the absorber?  (I would need to glue the 'wall art' to the absorber panel and then screw the absorber panel to the wall studs.)

 

And how thick does the absorber panel need to be?

 

Andy

1 hour ago, andyr said:

 

Yes, a very sensible suggestion, Paul.  Thanks. 

 

What do you suggest to use as the absorber?  (I would need to glue the 'wall art' to the absorber panel and then screw the absorber panel to the wall studs.)

 

And how thick does the absorber panel need to be?

 

Andy

My suggestion is don't try to glue it just yet - try it out first. Perhaps even propping it up on your shelf or a chair as a trial. Then if you want to keep it, modify your panel slightly so you can fix it to the wall. Your panel then might glue on to the back or you might modify a frame so it just sits in there. 

 

If you want to glue it on, two options to consider. One is a simple flat foam absorber. You can get them in modules which may or may not work. Foam is not ideal for many things but for what you want here, it's actually fine. Another option is black polymax XHD - not much I can say there without getting into trouble with the rules as this is one of our products.

 

Thickness - 50mm is my suggestion. The thickness determines how low in frequency it will absorb. Thin panels absorb only highs. Thicker panels start to provide absorption into the lower midrange region and this provides balance.

Well, I've moved on one step from my Dec 3rd post - I got the pieces of wood 2-pacced just before Christmas and glued them all together, after Christmas:

 

 

Now comes the job of fixing the structure to the wall. 

 

Unfortunately, Paul, wifey is fixated against having anything opaque behind the wood - so the first try will have to be with a sheet of 3mm perspex behind the structure:

• I will screw through that into the wood blocks, from the back, to firmly attach the wood structure to the perspex sheet.
• Then I'll screw the perspex to the wall - where the studs are.

If that doesn't improve the soundstage depth to the degree I'd like ... I'll have to see if I can persuade SWMBO to let me have a sheet of 12mm Echopanel in place of the perspex (it comes in several colours - including an off-white, which would nearly match the wall).

 

Andy

 

@andyr

 

Mate that looks really nicely done. Hopefully this will improve things.

Room treatment seems to be the forgotten element to any system which if done correctly

can really make a difference in a positive way

4 hours ago, ghost4man said:

@andyr

 

Mate that looks really nicely done. Hopefully this will improve things.

Room treatment seems to be the forgotten element to any system which if done correctly

can really make a difference in a positive way

 

Thank you, Ozzie.  We will have to see whether it actually does improve soundstage depth, when it's mounted on the wall.  I'm scheduled to pick up the perspex backing on Mon 29th - hopefully, I can mount it on the wall, the following weekend.  (I will need the help of my son and son-in-law to hold it against the (sloping) wall, while I drill the holes into the studs.)

 

Andy

 

Well, this morning - having yesterday finished the build of my 8-channel volume control plus tube buffer on 4 channels (mids & ribbons) - I was able to reconfigure my system (and re-program the miniDSP unit to accept digital input, not analogue).

 

In summary, now:

• my (analogue) preamp is removed.
• my phono stage signal is digitised with a 96kHz A2D (so i. a higher speed than the miniDSP and ii. a higher-quality A2D unit than the $1 A2D chips in the miniDSP ).
• this, plus 3 other digital sources, go into a 4-way digital source selector (working at up to 96kHz).
• the selected digital source goes into the miniDSP unit.
• the 8-channel analogue output goes into the 8-channel volume control - and then to the 8 amplifier channels (sub / bass / mid / ribbon on each channel).

First impressions are:

1. it sounds great! 
2. but I can hear some hash on the mids & ribbons - not hearable at the listening position but certainly noticable when your ear is right at the speaker.  I was afraid this might happen so I think I know how to solve this problem.  (Put an earthed shield over the 6v & 15v feeds from the power transformers that run close to the I/O wiring, on the other side of the steel divider between transformers and signal boards).

Monday is the "real test" - when my panel of 'golden ears' comes round for a listen. 

 

Andy

 

Feed the hoi polloi fine cheese and red wine.  It doesn't slow them down but it does distract them.

5 minutes ago, ThirdDrawerDown said:

Feed the hoi polloi fine cheese and red wine.  It doesn't slow them down but it does distract them.

 

You're of course very welcome, Murray - but I fear, as a working stiff, you don't have that afternoon free! 

 

Some other time, then.

 

Andy

 

Well, during the week it occurred to me that, due to me using the digital input on my miniDSP unit (instead of 4x analogue inputs) ... I can run the 10x10HD at 96kHz instead the 48kHz needed for 4x analogue inputs.  So I ordered the 2x8 plug-in and, in preparation for the listening test tomorrow, today loaded all the settings into the 2x8 software.

 

So the stored configs on my 10x10HD now include a 48kHz setting ... and an identical config, running at 96kHz.

 

It should be interesting tomorrow whether we can hear any advantage with the 96kHz setting. 

 

Andy

 

E I G H T P A G E S !

Do I have to read all of this before lending my nonogenerian ears to tomorrows listening panel?

 

could someone more succinct provide an executive summary?

2 minutes ago, djb said:

could someone more succinct provide an executive summary

Easy...some dude playin' around with digital inputs...

Oh...there's also mechano set room treatments...

Heard @andyr newest set up yesterday it sounds even better with the full digital interface .

Even the TT is digital

clear clean crisp 

50 minutes ago, djb said:

Heard @andyr newest set up yesterday it sounds even better with the full digital interface .

Even the TT is digital

clear clean crisp 

 

Thank you, David! 

 

Interested parties should note that this was most certainly a 'single blind test' as the amount of fine red wine that David consumed meant that he moved from his normal "3/4 blind" state ... to fully blind! 

 

And, yes, 96kHz in the miniDSP delivered better resolution (than 48kHz). 

 

 

Andy