phoenixdogfan
1000+ Head-Fier
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Can either HT jack be used for HT assist on PRIR measurement?
Smyth Research Realiser A16
audiohobbit
500+ Head-Fier
Don't think so. I'd suppose only HT A would work for HT assist.
Backer #317 just wrote on KS that he received his unit.
Backer #317 just wrote on KS that he received his unit.
audiohobbit
500+ Head-Fier
Well that would be like reviewing an AV-Receiver as a headphone amp!
Andrew Seeley
100+ Head-Fier
I feel enthused enough to chime in about Firestick 4k Dolby Atmos through tidal on the HD 800. Been awhile lately.. I deeply enjoy this thread and the members. And thank you audiohobbit for his perfect post on the base layer capture, all from 3.5mm jack line out 1/2. Thoughtful!!
I captured a very good, well treated large 24 by 22 room with a bunch of treatment, but forgot to turn the LF boost dial down on the focal Solo6Be's, which feature a low, desireable 1khz crossover for the beryllium tweeter.
So technically I ruined the capture.. though what the realiser mics pick up is pretty good, I am delighted qnd impressed and delighted with the what the tiny mics capture for recreation.
You'll hear the solo6 at +2.65Db LF plus the characteristics of the room almost flawlessly through the realiser, "almost meaning really really, very accurately. The only thing to do is improve the pcm processing to DSD 128 or 256 for each of the up to say 24 or more channels when such a DSP processor becomes availabl to the Smyths...
I also captured some + .85 Db LF prirs' from the a16 in about 45 minutes using audio Hobbits method. Will make more prirs in a week or maybe two again when I have access to large format rooms that will be worthy of the google drive
Measure my adam A7X tonight in a fairy bad room, but the focal solo6Be have them soundly beaten as monitors go, but then the Solo6 Beryllium-tweeters with low crossovers are twice the price per monitor!!
Edited the post to clarify,
onto the monitors:
The A7X are not bad monitors and between them and the KEF LS50 seem to be good and sought after in their price brackets.
Althoigh the solo 6 is currently still a better monitor, I am curious about how well the realiser captures the A7X tonight.
One thing the Adam's suffer from is lacking bass on axis. Solo6Be does nnotably not suffer from this impedence... the A7 exhibits it in any sized room or even a Wide-closet studio, firing into a larger room through French doors.
the focal solo6 box is the perfect size. For the 6.5" driver... it should be for 1500 dollars per monitor..
I had the focal alpha 65 and the box is even bigger than the solo 6. It is a pretty decent cabinet as well. But the solo6 is the best by a pretty fair-good margin.
The cabinets for the focal solo6 seems better than the a7X, the A7x is too thin, though they are Longenough for certain, based on the noise, that is bass, that they produce.
Though glass fiber-aerospace "Rohacell" sandwich the Adam A7x have a present resonance or even a minor second that the 1500 per monitor focal does away with PROMINENTLY and quite adeptly. With the beryllium tweeter and low crossover, the focals are a winner.
This year Focal came out with a new vehicle M sandwich and beryllium tweeter for car audio at liquid-spendthrift pricing, so I will wait to see what the forthcoming M-series solo6 qnd solo8 retail for before considering upgrading my monitors from the A7X.
Part B:
That does not rule out capturing M series products for A16 capture by renting. With appropriate collateral in case something were to happen, like a speaker was blown out or worse..
Hopefully that wouldn't happen. Now that those of us who have taken prirs understand the realiser we can cope with it's calibration and line out plug, and unplug-shorts (don't do this, use just 1/2 qnd audiohobbit's method) and those freeze-up drawbacks by calibrating appropriately low from the outset.
As others have constantly said, don't unplug the line out analog signal lines. Reliable analog line out 1/2. In the prir measuring room menu.
I captured a very good, well treated large 24 by 22 room with a bunch of treatment, but forgot to turn the LF boost dial down on the focal Solo6Be's, which feature a low, desireable 1khz crossover for the beryllium tweeter.
So technically I ruined the capture.. though what the realiser mics pick up is pretty good, I am delighted qnd impressed and delighted with the what the tiny mics capture for recreation.
You'll hear the solo6 at +2.65Db LF plus the characteristics of the room almost flawlessly through the realiser, "almost meaning really really, very accurately. The only thing to do is improve the pcm processing to DSD 128 or 256 for each of the up to say 24 or more channels when such a DSP processor becomes availabl to the Smyths...
I also captured some + .85 Db LF prirs' from the a16 in about 45 minutes using audio Hobbits method. Will make more prirs in a week or maybe two again when I have access to large format rooms that will be worthy of the google drive
Measure my adam A7X tonight in a fairy bad room, but the focal solo6Be have them soundly beaten as monitors go, but then the Solo6 Beryllium-tweeters with low crossovers are twice the price per monitor!!
Edited the post to clarify,
onto the monitors:
The A7X are not bad monitors and between them and the KEF LS50 seem to be good and sought after in their price brackets.
Althoigh the solo 6 is currently still a better monitor, I am curious about how well the realiser captures the A7X tonight.
One thing the Adam's suffer from is lacking bass on axis. Solo6Be does nnotably not suffer from this impedence... the A7 exhibits it in any sized room or even a Wide-closet studio, firing into a larger room through French doors.
the focal solo6 box is the perfect size. For the 6.5" driver... it should be for 1500 dollars per monitor..
I had the focal alpha 65 and the box is even bigger than the solo 6. It is a pretty decent cabinet as well. But the solo6 is the best by a pretty fair-good margin.
The cabinets for the focal solo6 seems better than the a7X, the A7x is too thin, though they are Longenough for certain, based on the noise, that is bass, that they produce.
Though glass fiber-aerospace "Rohacell" sandwich the Adam A7x have a present resonance or even a minor second that the 1500 per monitor focal does away with PROMINENTLY and quite adeptly. With the beryllium tweeter and low crossover, the focals are a winner.
This year Focal came out with a new vehicle M sandwich and beryllium tweeter for car audio at liquid-spendthrift pricing, so I will wait to see what the forthcoming M-series solo6 qnd solo8 retail for before considering upgrading my monitors from the A7X.
Part B:
That does not rule out capturing M series products for A16 capture by renting. With appropriate collateral in case something were to happen, like a speaker was blown out or worse..
Hopefully that wouldn't happen. Now that those of us who have taken prirs understand the realiser we can cope with it's calibration and line out plug, and unplug-shorts (don't do this, use just 1/2 qnd audiohobbit's method) and those freeze-up drawbacks by calibrating appropriately low from the outset.
As others have constantly said, don't unplug the line out analog signal lines. Reliable analog line out 1/2. In the prir measuring room menu.
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Andrew Seeley
100+ Head-Fier
Part A:
I'm hoping to plug the A16 into a nice 3 way tri amped front, 3 way-Active rear with a 10" subwoofer in a vehicle, and will plug into vehicle RCA DSP Device per channel to capture a vehicle 14 "channel" setup, or at least a unique presentation in NUMEROUS channels for our multichannel Atmos movies and Tidal Atmos. Which would be probably pretty neat.
Looking to get into this local vehicle with an A16, for an hour or less.
Part B:
By the way, generally speaking, returning to audiohobbits Base layer method, I am not sure how others capture their height channels,
To capture: height channels,
For L/R Top Rear and L/R Top Front:
I elevate the Focal solo6 to the center or slightly higher than the middle of the room and the standard Left qnd Right channel equilateral triangle or in a slightly tighter circle than the L and R,
And then for the front top right and top left channels, face away from the speakers and do the "limbo," and bend backwards approximately 65 or 70, [where comfortable] ° while then tilting the head back to 90°, Thw speakers should be Elevated Above your head. You should almost see them in your vision, but they should probably be out of the field of view. For the two L/R Top Fronts.
For L/R Top Rear channels,
Lower the speakers on the stands and then stand so that the head is above the speakers, and "do the limbo" while looking perpendicularly, 90° at the ceiling, for the rear channels.
Part C:
With an aaim to sift through the Google Drive prirs, which will get larger, I think that we should add photos of our ears..
Hopefully ear photos will help us determine what sound people will get from the personalized captures, just for educational purposes. Especially for the new a16 users. Here is mine. Never fear, as the first ear poster, to add to the google drive with my good prirs, I have ensured the standard will be accessible anyone.
I think this is helpful enough for those of us A16 users, sifting through the Google-Drive to try one another's speaker prirs, not to mention very funny, not to add to the google drive.
Ps, I will upload another photo tomorrow! A16 Google Drive users, unite! Improve the state of Realiser A8, A16, A64 etc, understanding for users of the venerable and uniquely rewarding, though tricky Realiser prirs we are working at making that are in the google drive.
https://www.dolby.com/about/support/guide/speaker-setup-guides/9.1.6-overhead-speaker-setup-guide/
I'm hoping to plug the A16 into a nice 3 way tri amped front, 3 way-Active rear with a 10" subwoofer in a vehicle, and will plug into vehicle RCA DSP Device per channel to capture a vehicle 14 "channel" setup, or at least a unique presentation in NUMEROUS channels for our multichannel Atmos movies and Tidal Atmos. Which would be probably pretty neat.
Looking to get into this local vehicle with an A16, for an hour or less.
Part B:
By the way, generally speaking, returning to audiohobbits Base layer method, I am not sure how others capture their height channels,
To capture: height channels,
For L/R Top Rear and L/R Top Front:
I elevate the Focal solo6 to the center or slightly higher than the middle of the room and the standard Left qnd Right channel equilateral triangle or in a slightly tighter circle than the L and R,
And then for the front top right and top left channels, face away from the speakers and do the "limbo," and bend backwards approximately 65 or 70, [where comfortable] ° while then tilting the head back to 90°, Thw speakers should be Elevated Above your head. You should almost see them in your vision, but they should probably be out of the field of view. For the two L/R Top Fronts.
For L/R Top Rear channels,
Lower the speakers on the stands and then stand so that the head is above the speakers, and "do the limbo" while looking perpendicularly, 90° at the ceiling, for the rear channels.
Part C:
With an aaim to sift through the Google Drive prirs, which will get larger, I think that we should add photos of our ears..
Hopefully ear photos will help us determine what sound people will get from the personalized captures, just for educational purposes. Especially for the new a16 users. Here is mine. Never fear, as the first ear poster, to add to the google drive with my good prirs, I have ensured the standard will be accessible anyone.
I think this is helpful enough for those of us A16 users, sifting through the Google-Drive to try one another's speaker prirs, not to mention very funny, not to add to the google drive.
Ps, I will upload another photo tomorrow! A16 Google Drive users, unite! Improve the state of Realiser A8, A16, A64 etc, understanding for users of the venerable and uniquely rewarding, though tricky Realiser prirs we are working at making that are in the google drive.
https://www.dolby.com/about/support/guide/speaker-setup-guides/9.1.6-overhead-speaker-setup-guide/
Attachments
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sander99
Headphoneus Supremus
Digital signal processing within the DSD domain is not possible. A given DSD signal can only be processed after conversion to PCM.
Does anyone know what these settings are.... don’t see them in the manual
- SPL gen
- SPL headroom
- SPL SW lose
- Gen BMP
- CLK tx=rx
- APM 0dB
- Limiter off
- Block mute
- APM bass
- APM treble
- SVS bass
Last edited:
sander99
Headphoneus Supremus
The manual was written for firmware version 1.02. They didn't update it, but with every firmware update came Release notes. They describe changes and additions to the user interface.
phoenixdogfan
1000+ Head-Fier
- Joined
- Feb 26, 2015
- Posts
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- Likes
- 463
" And then for the front top right and top left channels, face away from the speakers and do the "limbo," and bend backwards approximately 65 or 70, [where comfortable] ° while then tilting the head back to 90°, Thw speakers should be Elevated Above your head. You should almost see them in your vision, but they should probably be out of the field of view. For the two L/R Top Fronts. "
Don't understand why you guys are doing this. Is it b/c the speakers you're trying to capture as height channels are floorstanders?
If you are using anything you can reasonably elevate 4-5 ft off the floor, why not do that, angle them slightly downward and sit on the floor? For LTF and RTF, you would capture the same way as L-R, only the speakers are higher and you are sitting on the floor. For Rtr and Ltr, you just relabel, put the HT station in the rear of the room and sit on the floor again--this time facing the back of the room. Ltm and Rtm, can have the HT station at 0 degrees again, move the speakers to the middle of the room while keeping them at elevation, and sit on the floor again facing front. Just seems simpler to me if you don't have to do gymnastics to capture these elevated speakers.
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Andrew Seeley
100+ Head-Fier
I do it the way you quoted because
One, I only have to move the speakers twice, once when putting them on their side together for the center channel, and only to lower the stands
The way I do is probably improved on what's suggested because it is more accurate in that is avoids additional reflections, and garbled absorbance near the floor as one would sit near the floor.
And ergo/Therefore my method of Bending allows for a more natural volume of air, to be captured that better approximates and matches the base layer channel captures
This way also matches the orientation of the monitors captured, where leaning forward inverts the tweeter and midrange for the L / R top Front speaker captures.
It also allows for a more likely natural set of reflections from the top of the head, with the soundwave rolling down the body in a more natural way progressively down the back (and in between the legs,) than into the torso-abdomen And back to the mics.
the realiser picks it all up. I checked my capture with a test: my friend holding the headtracker for the height channels and could hear his body impediment offcenter in the room On a 104" sweetspot. He is a big Guy though.
inititially i did do as you suggested and did it on the floor,
Although the sweet spot is tougher to gage because of absorbency when sitting down on the carpet UNLESS the speakers are relatively raised for the measurements. Say 15 to 25 inches or thereabouts. where you mentioned at 4 to 5 feet is great too. with. your distance to the floor depending on the distance of the equilateral sweetspot you're aiming to capture according to (for the height chans') Butyou'll probably be just 2.5ft from the floor, and those captures would not be as clean in the room as using a "standing Limbo" method instead.
Ps, I can tell you unless I am doing golden, final measurements that I will forever finalize and use, I will not be using the head track for measurements, one could quite accurately with. Bit of approximated checking approximate 30° in L and R directions and halve my prir capture times qnd the hassle associated, thank you quote a lot though for the head tracker confirmation (and Litlgi for suggesting the HT assist-test tone disappearance before those Solid Gold captures are made with good speakers in the best rooms we can get access to)
And two...
I also don't have to risk tilting the speakers on stands either towards the floor, although I do love what you suggest!
in short The best method for the height channels depends on the space available in the room as well. Whatever you can manage probably works, so long as detailed for the thread and the final upload to the Google drive, if you feel that is necessary in a readme would be quite appreciated notation.
One, I only have to move the speakers twice, once when putting them on their side together for the center channel, and only to lower the stands
The way I do is probably improved on what's suggested because it is more accurate in that is avoids additional reflections, and garbled absorbance near the floor as one would sit near the floor.
And ergo/Therefore my method of Bending allows for a more natural volume of air, to be captured that better approximates and matches the base layer channel captures
This way also matches the orientation of the monitors captured, where leaning forward inverts the tweeter and midrange for the L / R top Front speaker captures.
It also allows for a more likely natural set of reflections from the top of the head, with the soundwave rolling down the body in a more natural way progressively down the back (and in between the legs,) than into the torso-abdomen And back to the mics.
the realiser picks it all up. I checked my capture with a test: my friend holding the headtracker for the height channels and could hear his body impediment offcenter in the room On a 104" sweetspot. He is a big Guy though.
inititially i did do as you suggested and did it on the floor,
Although the sweet spot is tougher to gage because of absorbency when sitting down on the carpet UNLESS the speakers are relatively raised for the measurements. Say 15 to 25 inches or thereabouts. where you mentioned at 4 to 5 feet is great too. with. your distance to the floor depending on the distance of the equilateral sweetspot you're aiming to capture according to (for the height chans') Butyou'll probably be just 2.5ft from the floor, and those captures would not be as clean in the room as using a "standing Limbo" method instead.
Ps, I can tell you unless I am doing golden, final measurements that I will forever finalize and use, I will not be using the head track for measurements, one could quite accurately with. Bit of approximated checking approximate 30° in L and R directions and halve my prir capture times qnd the hassle associated, thank you quote a lot though for the head tracker confirmation (and Litlgi for suggesting the HT assist-test tone disappearance before those Solid Gold captures are made with good speakers in the best rooms we can get access to)
And two...
I also don't have to risk tilting the speakers on stands either towards the floor, although I do love what you suggest!
in short The best method for the height channels depends on the space available in the room as well. Whatever you can manage probably works, so long as detailed for the thread and the final upload to the Google drive, if you feel that is necessary in a readme would be quite appreciated notation.
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You Gene
100+ Head-Fier
On 16th June 2020, a technical exchange meeting has taken place in Shanghaï in a movie studio. It was hosted by Chinese ACE Audio (one of the largest Pro Audio supplier in China) and various professionals (engineers from Shanghaï Radio & Television, etc.) :
http://www.caiacn.com/news.asp?id=429
Apparently China is an important market for the pros.
The demo was in Dolby Atmos 7.1.4
http://www.caiacn.com/news.asp?id=429
Apparently China is an important market for the pros.
The demo was in Dolby Atmos 7.1.4
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