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Neilsy

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About Neilsy

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    Matt

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  1. Thanks Peter. And hope you're able to stay sane in lock down. That's really is a bummer for everyone in Vic and what it means beyond that too. The acoustic link is appreciated. I might have to take a look at that further for my acoustic absorption that I'll be installing... Good that you have some PEQ on hand too - and key word being quality. Most DSP based stuff can sure degrade the source material through too many conversions, every time reducing fidelity, dynamics and increasing noise. Hopefully in six months or less I will be able to display real world achieved FR for subs in the room
  2. Hi Peter, Could be because it's only a new feature in the latest REW version. I have REW installed on a laptop not even with wi-fi on so never saw the Room Sim tool till recently either. It's been very helpful. I'm constructing a house and a HT build as part of that. My big queries have come to what is the best listening position to achieve most even bass response at all octaves. It was able to predict per attached. It's great guidance and is a very reasonable seating spot once I install a riser. Can't wait to try real world results once construction complete.
  3. Typically not the best suit for HT or Hifi use. Higher level of total harmonic distortion as the drivers are more sensitive. Other thing, note the -10dB frequency response is 40hz which isn't very low. You'd have to see if the amp has ability for altering the processing and adjusting the rolloff to more like 15 or 20hz. But with these high SPL pro audio subs they often struggle below 35hz, cabinetry isn't well designed for it and their distortion and possibly FR becomes uneven
  4. From what I know it does depend on the room and I think it's use. Hifi inclined might steer towards retaining a certain reverb or 'hall' sound to the room. For home theatre the more absorbed the better. Ultrafonic will likely get back to you, often they are on jobs or out and about. The scatter blocks in Living Sound and Vision are cool, I have seen them, and may throw a few of those in my room too. They just help break up sound waves. Yes, I do love the Theatrix. Their dynamic range is, well, cinema! Vocal intelligibility is exceptional. The Megaphonix will serve really well too - the 10" mid driver will be clean enough in the vocals and the horn loaded tweeter means a guided sound wave for good clarity. A good choice
  5. Exciting stuff Ian! Whilst I'm not the most technical I have my home being built now with framing going up from tomorrow. My Media room dimensions were set out 4.2m W x 5990 D x 2.75m H. I had advice and consultancy paid by ATP consulting and apparently this was an ideal usable measurement within the home dimensions to achieve a Bonello Graph. Depending on what could be done with the adjoining walls, here is the stud and gyprock layout; The ceiling is double gyprock too with 88mm insulation as well. I'll be asking the plasterers to squeeze on green glue between the plasterboard layers as apparently it's super helpful help reduce low frequency vibrations or something to that affect. Should ask all joins in the room be square set, and no cornices so that the cavities are unsealed. The downlights are captured in a box, so any noise from the light hole that is cut escapes into the box only. Likewise with the power points in the room. I'll also build a riser for the seats, and this will serve as a massive bass trap. Apparently all you need to do is leave the front as a ventilated mouth, have secure studs and fill the thing with rockwool or insulation. Next is acoustic treatment. As I'm all movies/home cinema, it's absorption at first & second reflection points along side walls & ceiling from the speakers. Then a heavy drape 3/4 of the way around the room. Acoustic door, solid core, acoustic drop seal. When I had ATP consult and draw up the room they modeled their acoustic treatment recommendations to meet the best Speech Transmission Index and reverb time. This is useful for live venues or HiFi listening where some reverb is accepted. Upon speaking with UltraFonic (located just in Darra, QLD) they said for cinema & HT you can never over deaden; as movies are not pleasant with any reverb and to mimic the production studio who mixed it the room should be void of any room introduced characteristics. So I will likely liaise with UltraFonic further to deaden the room greatly so that only the intended mixed sound is reproduced, as artifact free as possible. If you're interested in speaking to them feel free to give them a call & they can consult to varying degrees based on how serious you want to go. Hope any of this is helpful!
  6. Just so we're covering all the basics of basics, your definitely feeding an RCA input into the INPUT RCAs and running nothing else except the power cord? If running Left & Right RCA cables just double check they're not crossed. Plate amps will hum if the above happens to be wrong. Sorry, just helping ruling out the absolute obvious. I used to have one of these - good unit
  7. Very nice. Will be keen to hear your thoughts and review on it, Marc
  8. Hi Tom, I didn't actually use the built in test tone, which may have worked fine, but I have a -30Db recorded white noise high resolution file I played back. The AVM volume set to 00dB and then I just wound down each of the speaker levels until I was down to 75dB SPL (one speaker at a time only that is)
  9. Interesting. Well those guys would know their stuff and would be squeezing the most out of it so if you're not feeling it maybe something isn't what you're after. If the host has a few differing target curves saved into his Trinnov profile (like they do @ LS&V) it does allow you to sample some differing settings that are preferred by different Krix calibrators. i.e. the guy at the store was qualified on Trinnov and he liked his target curve whereas one of the Krix integrators also provided another. And I guess that's the thing with processors and speakers like this, in that it's not plug & play; it's completely able to be played with and tuned to taste. Word of warning though.... It's addictive!
  10. Thanks - I can squeeze 7.1 before a costly processor overhaul. May well start a build thread when my house build is a little further along...! Meanwhile, I won't hijack the thread..
  11. Currently my set-up is southside in Springwood. I'm just at the beginning of a new house build at the moment Be more than happy to chat over thoughts, any settings etc. Just shoot me a PM 👍
  12. Not sure where you may have got that info. Even the AVM50 is dual sub, I haven't seen anything on the newer units that they don't have dual sub out...
  13. Good input from everyone above. You're on the money with the Emotiva. Other options in a similar sort of league that have XLR out, at least 7.1 and dual sub options: - Anthem AVM60; XLR, Anthem ARC is one of the most praised room correction tools short of things that Trinnov offer. Ballpark RRP $5,299 AU - Marantz AV8805; XLR, Audyssey MultEQ XT32, RRP is higher @ $7,990 AU - Marantz AV7704; XLR, as above, RRP $3,970 AU - JBL SDP-55; XLR - next step up. I think around $13-16K Then there's next level like Lyngdorf, Storm Audio and Trinnov but you'll need near $30K for that realm. I can understand where you're coming from as I'm in a similar situation where I have an Anthem AV50 processor. Those were just into five figures $ back in the day but stuck at HDMI 1.4a. So awesome decoding of sound, DACs, etc but I run my Oppo 205 direct out for video and obviously cannot do true object based audio yet so I am limited to 7.2 for now.
  14. We actually spent the course of several hours going through it.. Started with a demo of MX5 set up they had configured there and even that sounded quite cinematic for its size. Then went into another larger room with the MX40 set up and right away the 3way benefit comes immediately through - the midrange has such smoothness and establishes such body to the sound. To me it did sound quite cinematic indeed... To answer your question - very similar. There are some subtle differences I believe I did pick up on and have reviewed technical documents that support they are not quite like for like... MX40 has a 6inch mid with a certain crossover parameter whereas the Theatrix has a slightly larger 6.5inch and more sensitive driver and crosses over at a different frequency range. Happy to elaborate further detail if curious.... Bit of a shame after 3 demos it hasn't shone through for you. Maybe it's not entirely the sound you're after... A real question may be how well has it been set up? Did the Krix guys tune it or the shop? Being a external crossover managed set up + EQ processing things like auto room correction can potentially apply inferior adjustments compared to manually. FWIW, I'd still say you will notably recognise comparing hearing the 2way MX30 to the 3way MX40.
  15. Definitely once restrictions ease heading back to the cinemas and taking note what they run will help here. Having said that, even with bias aside, Krix is Event's preferred and primary speaker supplier. So all new cinemas get Krix and 70% of their fleet is Krix. I've also seen Krix in boutique cinemas, Palace Cinemas, Cineplex and so on. Living Sound & Vision here in Brisbane also now have a Trinnov 32/24chan with MX40 set-up. They run I think LCR, subs front (from the MX40) and a 15" rear sub & I think maybe 12 other speakers covering heights, widths, surrounds. The guys there are great... They let me play on the Trinnov set-up pane, even compare some EQ profiles & go back in for a listen. You'll need fully capable EQ processing if going Krix modular or Series X range, and possibly the same with other cinema-like vendors. The Procella's are pretty great, and highly spoken of. Having said that, I'd room treatment is very key to a proper performance there. Possible theory of where you're 'missing' the "cinema sound".... All cinema stuff is horn loaded - and from quite low frequencies... The procella, for example, alike many, has a bass and/or mid driver, then finally a sort of horn loaded HF. Generally speaking, like a sub / bass driver, it's this way to inject sound into a room but the sound waves aren't too guided. Speaking just of the Krix (just Klipsh, some of the JBL, QSC will all be the same) they horn load the critical midrange driver. In Krix Theatrix this is as low as from 350hz and MX40 it's from 400hz. This does a couple of things: 1. When the sound waves emit from the cone they do not just 'light up' a room, kind of like a light bulb does. Or like a sub does at low frequencies... They are channeled via a throat and is the same affect as when you shout openly versus cupping your hands. Sound waves are reflected and projected. This results in massive efficiency and dynamics and makes them sensitive. 2. Directionality. As eluded to above, the sound is more directly issued as the horn is pointed/aligned/tilted to its target. The wave guide provided by the horn element also reduces invoking room nodes because the sound waves are so guided, meaning a lot more even coverage at the listening section of the room. 3. In cinema, the 500hz to 2.5khz range is critical. gunshots...engines revving and ripping, metal shreds, vocals. And when you have a horn loaded midrange low and behold most cinema vendors typically give that driver 350 - 2khz to handle. And because they are bi-amp and active crossovered, you simply dial the bass bin up or down in fractions of a decibel to attune basically how bassy you want the vocals to sound versus the prickle of the midrange. Apologies for that getting lengthy, but I hope some of what I said is also helpful. As I pursued this tone for years. And yes, sometimes can't help but still tweak a little haha
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