[esimms86]

My experiences doing a Dolby Atmos PRIR measurement at msm studios in Munich, 11.7.2022

I arrived a day early in Munich, as it is 7 hour drive for me to get their and took a hotel close to the msm studio.
My appointment was Monday at 2 pm and I was met in the front, having a small smoke break, by Stefan Mayer, the owner of For-Tune, the German distributor of Smyth Research. He guided me downstairs,where Stefan Bock, Director | Engineer & Producer at msm-studios was already preparing the Realiser and the asynchronous files for the measurement.



You can find a more detailed description of the msm Atmos room here: https://www.msm-studios.com/studio-f



Here are two more pictures I took.





Start of the measurements

After the preparation was done I sat down in the mastering chair and Stefan Mayer and I discussed which foamies for holding the inear microphones to use.



They had three bags with different sizes with the yellow foamies provided by Smyth. As suggested by @esimms86 and @Litlgi74 we used the Dekoni Gemini Bulletz 3 mm, sample pack. Pulling the Dekoni over the inear microphone end is a bit cumbersome but it worked after a while. Stefan Mayer was extremly carefull that the distance of insertion for both microphones in the Dekonis was exactly the same. I tried the medium size of the Dekoni and it felt safe and Stefan Mayer was almost happy with the fit. He only did very tiny adjustments comparing both ears. I can confirm that the Dekonis are the way to go since the stayed completely secure in my ears throughout the whole PRIR and HPEQ measurement of three headphones. Way easier than the yellow Smyth foamies and highly recommended.

I discussed with Stefan Mayer the need for the blue grounding wrist strap (for earthing body during PRIR measurements), and both Stefan Mayer and Stefan Bock were of the opinion it is not necessary. Let me just say that later on for the second measurement I insisted on using it.
Also we discussed again - since we had spoken about it on the telephone - the pro and cons of using the head tracker during the measurement. At this time both Stefans were of the opinion that while using the asynchronous method the use of the headtracker was not possible

This is what I found after the measurement in the evening in the manual.



The first measurement started.
I was rather surprised that while doing the sine sweeps I clearly heard some small vibrations and rattling. I clearly remembered that when @sander99 and I did our measurements in my Pilates studio (different room than on the photos below back then and much less optimal) there also was some rattling in one loudspeaker and Sander and I were very concerned about this.
Stefan Bock assured me that he was also puzzled back then when doing their own PRIR and he even tried to reduce these resonance rattlings but was not able to do so. In his opinion the sine sweep in this loudness will always create such phenomenons. Interestingly I can not remember I heard such things in the little hotel room the Smyths had at their audio show in Paris.

Back to msm. Stefan Bock assisted Stefan Mayer in handing me my three headphones: Sennheiser HD 800, Hifiman Ananda, beyerdynamic DT 1770.
After the measurements were done I tested with my trusted HD 800. I was shocked in a negative way. After playing the same Dolby Atmos Jazz track, mixed at msm studios, I had heard via the A16 virtualization something which sounded more like an ordinary headphone mix down. Everything in my head.

Both Stefans looked a bit puzzled. I suggested we used the internal test tone to to see speaker by speaker how it sounded.
Using the function of the test loop almost all speakers sounded well positioned but the left and right speaker sounded each like a loudspeaker array of several loudspeakers on the side of the room, reaching from the front to the side on ear level, all while only selecting eg the left front speaker or the front right speaker.

At this time Stefan Mayer said that in his opinion the test loop was not using the PRIR and the HPEQ.
Today I spoke to Mike Smyth about this topic and he confirmed - what some of you already suggested - that the test loop will use the last selected PRIR, HPEQ and the last used listening room e.g. Dolby Atmos or DTS or PCM.

I also asked Stefan Mayer if he had used the tool of the A16 for assessing the quality of the measurement. He told me he was not aware that this was possible.
Again I needed to check after the measurement was done - no internet in the cellar and also no printout of the manual - and sorry to say, at least the manual begs to differ:




Stefan Bock went through the room settings and found a mistake in the Azi of two speakers. I made a photo of the correct settings just in case there would be a problem later.



And yes there was a problem when I returned today and tried to creat my 9.1.4 room. Since now when I create my own 9.1.4 room the last two speakers 15 and 16, Ltr and Rtr have no Azi and no elevation.



Stefan Mayer from for—tune has been informed today and I have sent him a video with all the steps I have taken. He promised me to contact Smyth to see where the problem stems from.




Second measurement

Going back to Monday at msm studios, it was already 3 pm and I was informed that at 4 pm there would be another PRIR measurement. With only one hour left time became a scarce resource.

So after Stefan Bock had corrected the values inside the A16 for the room and Stefan Mayer had checked the position of the inears, again the Dekoni make this much easier and again he had not much to correct, we did the next measurement. Right at the start an error message occurred and Stefan Mayer diagnosed quickly that one of the inear microphones had give up. Lucky us I had my on pair of inear microphones with me, since otherwise the whole measurement process would have ended, for which I had taken a vacation booked two nights in a Munich hotel and driven 7 hours would have ended there and then. Fun fact, when I told my family the story, they said “Paris 2.0”. As some of you might remember, I dragged my family after backing the A16 on Kickstarter, to Paris at 8.10.2016, and never received my measurements.

https://www.head-fi.org/threads/smyth-research-realiser-a16.807459/post-12920497

When my family found out some weeks ago, questioning me rightfully why I had to do again such an measurement for the A16, they became really mad at me and Smyth. Hence “Paris 2.0”.

So installing the Dekoni on my own inear microphone, me insisting on the blue grounding belt, and after the necessary ear check, Stefan Bock gave me the tip when looking in the 30 degree angles not to look a the loudspeakers but a little bit more to the side in the corner. With no headtracker available I did as I was told.

Speaker PRIR measurements and HPEQ with all three headphones were done and again I tried the test loops. And again to my total frustration I heard instead of a left and right speaker a wall array of loudspeakers. Stefan Bock suggested we tried some music, which sounded much more convincing this time. We changed to a classical piece with four instruments. I clearly heard the piano totally on my right side (not front right) and I was very fearful that this might be again this array mistake, but luckily Stefan Bock, who had done this Dolby Atmos recording could confirm that the piano was placed correctly and as the rest of the musicians started to play it became clear that this measurement was a success.

Regarding the problem with the test loop and hearing not a defined left and right speaker I talked today with Mike Smyth and he asked me to send him my PRIR. We will see what will happen.

Stefan Mayer copied the PRIR file and the HPEQ files to my SD card (and also send them to me via email). So lucky me no Paris 2.0

With their microphone broken and the next one waiting for his measurement upstairs (any fellow headfier?), I offered Stefan Mayer and Stefan Bock to lend them my inear microphones including my Dekonis. They brought them later this evening to my hotel although the hotel owner was not able to find them at first in the morning. And while I tried to explain to him that it was probably a small plastic bag with something looking similar like inear headhones, he searched the reception and did not find them. After me contacting the Stefans and Stefan Bock confirming he had handed them to the receptionist the hotel owner called the receptionist. And oh wonder, the bag was in the drawer behind the reception (not visible for me) that belongs to the room. The owners excuse was that he thought this must have been much bigger. The hotel is a bit old, situated 300 meter away from msm-studions, a bit worn down and old fashioned and the owner is - as I believe now - not familiar with the term inear headphones.

Back home today

I was very eager to test my new PRIR. As already mentioned at least the missing azi and elevation is a bit strange.
The result when listening to Dolby Atmos music via Tidal (Fire TV 4k) with my HD800 was okay but not great, the Hifiman Ananda like in my own trials was completely of with a strong tilt to the left (I will try a man loud based on a flat eq) and the Beyerdynamic DT1770 sounded much to closed up and not real.

Would I have given up in this moment it would have been a very costly bad experience. Luckily I remembered that some of you have insisted on the importance of the manloud. So I took the HPEQ autoeq from the measurement as a base and started my manloud process. I always find it shocking how much left and right misbalances I find and how my ear is extremly sensitive in some regions and especially in the higher frequencies my hearing is less strong. I always wonder when doing my manloud how much I correct inaccuracies of the headphones and how much it is my own ears? Anyhow, after doing this and listening again to my msm PRIR I can assure you it sounded exactly as the msm room sounded.

Ultimately I needed to compare this new msm PRIR to my own older Focal 2.0 PRIR I did together with @sander99 in November 2019 which I enhanced with the BBC PRIR provided by the Smyths.

The result of the new PRIR is so much better. So there is no doubt it is useful to get your own measurement. I can fully recommend to get it done.

For quite a long time I have asked myself if I should only go with the 7.1 measurement as it is with 690 EUR (compared to 1190 EUR for the Atmos measurement at least at for-tunes) much cheaper and the studio is under 1 hour drive away from me. Now having listend to many Dolby Atmos music tracks today and using the possibility to check each speaker separately and also the four height speakers together I can report that at least for music a lot is happening in the upper speakers. Sometimes it feels almost like it has the same importance as the front speakers. Taking my experiences with personal PRIR mixed with BBC versus the msm-PRIR I believe this would downgrade the sound. But I will try this out soon using the msm-PRIR and only exchanging the height speakers with the BBC and then listening to this in A/B comparison.


My personal sound preference and why it matters
My personal experience - after the first measurement was done and we tried to test loudspeakers versus A16 - was that the msm-room felt quite dry, while my personal preference in my “sound room” in my Pilates studio is to have a little more reverb. My private training room is directly under the roof and has a roof slope on both sides of the room. As the combination of Focal speakers and REL subwoofers (standing on each other decoupled by an army of Pangea sorbothane and a thick slate plate) stand under one roof slope they use the ceiling to amplify the speakers. The additional height the Focal speakers have sound much better since I work standing while teaching.

Here are two pictures showing my personal listening setup while teaching Pilates.





The two pictures (with one of my teachers in the foreground) are a month old and since then I have further optimized the room acoustic. At the moment with 5 Hofa diffusors, 2 addictive sound AbFusers and 4 Silent4 absorbers (with 1 cm additional space behind them). All pictures also have an acoustic foam behind them. The soundstage in my personal studio is just amazing and reaches 2 to 3 meter back behind my loudspeakers.

This is unfortunately not the case with the room and speaker setup at msm-studios. It has a neutral and very clear sound but no soundstage behind the speakers. Recording and Mastering engineers obviously have a different goal.

So when talking about the end result one will get when doing a PRIR at msm, if everything goes right, is a copy of the Atmos room of msm and this might not be your personal preference.

Summary

Sorry for writing such a long text but I felt it was necessary to explain my summary.
Overall I am very happy that I have done this PRIR measurement at msm-studios.
I am not completely happy with the process since I believe that

• as a user - and compared to most of you, uneducated user - should not know more than the German distributor (quick reminder: 1. internal test sound loops are connected to the PRIR as confirmed my Smyth, 2. the headtracker can be used in asynchronous measurements and is advised to be used, 3. the quality of the measurement can be assessed during the measurements, 4. why would Smyth provide a grounding wrist band if it is unnecessary?).
• the setup should include redundancies in case something breaks. A second A16, a second set of inear microphones … What would have they done with the person after me if I would have not lend them my microphones? Who knows how long has he travelled, taken one or two days off, paying a hotel etc.
• when paying 1190 EUR (and yes for-tunes invoiced me for the full amount) there should be no tight scheduling (in my case 2 hours) in case something goes wrong. As it did and there was no time to make entirely sure my measurement was a success.
• I shouldn’t find out when creating my listening room that “Azi” and “Elev” are not the same as they were at msm. This could also have been found out on site at msm. Either they could have corrected it directly at msm studios or, if the error is unclear, they could have tried to clarify this with Smyth and taken a new measurement with me the next morning.

I am sure I will be very happy with my measurements in the future when the last questions have been clarified, since then I would recommend to use my experience to discuss up front with a provider of PRIRs how to make sure two full A16 sets are on site, enough time is available and a hotline to Smyth is possible that day when unforeseeable things happen.

Thank you for your very thorough write up. Every word was helpful so you have nothing to apologize for. Being the first full report that I’ve read of the msm experience, I would think it invaluable for anyone coming after you, and also extremely useful feedback for msm studio staff to receive. I also agree that one of the major issues that exist with the A16 is the dearth of studios/locations that offer/do room captures. In a perfect A16 world there would be multiple such locations, allowing end users the ability to find the site with the optimal room size and treatment to suit one’s individual preferences. Your post also points to the importance of the studio professional having sufficient knowledge, experience and expertise regarding the intricacies of the A16 and how best to utilize that particular skill set in taking PRIR measurements.

 

[Richter Di]

So what is the "best" insertion angle, distance for the inner microphones to be positioned according to msm studio staff?

Actually it is not the msm studio staff who is handling the measurement but the For-Tunes German distributor.
He repeatedly said that the placement of the inear microphones was most crucial but he did not explain to me the best insertion angle and distance. Unfortunately.

Was the A16 denoise function used during the msm studio recording?

I have not asked but since

5.3.3.7 Denoise

Denoise is a signal processing routine that is useful for reducing the effects of background noise in impulse response measurements. Denoise defaults to on.

I am pretty sure it was “on”.

 

[Richter Di]

@Richter Di

What a wonderful write up and description of your in-person PRIR process.


In my experience... While it is extremely important that the speaker's physical elevation and azimuth angles are correctly set to the appropriate spec for the decoder (Dolby, DTS, Auro) in use.. the values displayed in the Realiser are irrelevant. They have no bearing (currently) on the sound or head tracking abilities of the machine.

A word of caution for anyone considering creating their own PRIR or even making an HPEQ. James has told me repeatedly that the microphones are the weakest link in the Realiser chain. They are highly sensitive and vulnerable to the smallest static discharge. The blue static strap should be worn and connected to the Realiser anytime you are handling the microphones. The microphones are handmade by The Smyths and cost $140 to replace... If they have them in stock.

When creating a PRIR or HPEQ.. it's important to use the Listen to Mics on HPB feature of the Realiser. This feature is used to verify that the microphones are working properly and are level matched.. without doing so, you're gambling with the results of your PRIR or HPEQ.

With such sensitive equipment needed for a time consuming process... Please don't take unnecessary risks with the microphones.

PS...


This is an invaluable feature.. not only to assess the quality (IRVR and IPER values) of the measurement.. but also to use as a double backup to ensure the microphones are functioning properly.

It looks like there is a typo in the manual.. in order to access this feature.. you press "test" button after the PRIR is complete and before it is saved. To exit the screen.. you press "test" one more time. You will then have the option to press Enter button to save the PRIR or SPK to repeat the measurement.

Thank you so much for these additional infos.
I have to admit I truly would have loved to have you by my side during these measurement or even better, you guiding the measurement process.

 

[Sanctuary]

I was rather surprised that while doing the sine sweeps I clearly heard some small vibrations and rattling. I clearly remembered that when @sander99 and I did our measurements in my Pilates studio (different room than on the photos below back then and much less optimal) there also was some rattling in one loudspeaker and Sander and I were very concerned about this.
Stefan Bock assured me that he was also puzzled back then when doing their own PRIR and he even tried to reduce these resonance rattlings but was not able to do so. In his opinion the sine sweep in this loudness will always create such phenomenons. Interestingly I can not remember I heard such things in the little hotel room the Smyths had at their audio show in Paris.

While I am not sure if the reason's for the rattling were identical, I had a very similar issue with my A8 last summer when doing a 7.1 PRIR. The front right, of the brand new pair of speakers I had just purchased was rattling, and I was afraid that I might have blown it. In my case, part of problem was related to volume. I had to turn my receiver up 25db louder than I previously had been when trying to make a PRIR from just a year prior. It was a newer receiver and newer speakers, but I wasn't getting any low end if I did not turn the volume way up. As it turns out, the A8 had decided to randomly cut off all frequencies below 750hz.

After discovering that to be the problem, and fixing that in the menu, I was able to lower the volume back down to a more reasonable level and the rattling no longer happened. It seems at least like there is a certain pitch (for me it was the lower, starting pitches) and volume combination, and maybe speaker build combination where this will start happening.

as a user - and compared to most of you, uneducated user - should not know more than the German distributor (quick reminder: 1. internal test sound loops are connected to the PRIR as confirmed my Smyth, 2. the headtracker can be used in asynchronous measurements and is advised to be used, 3. the quality of the measurement can be assessed during the measurements, 4. why would Smyth provide a grounding wrist band if it is unnecessary?).

First thing I thought before reading this point was how these guys are a bunch of jokers compared to some around here who are just doing this as a hobby. Paid professionals should know at the very least as much as someone who owns, listens to and regularly records with an A16 as a hobby. For how highly regarded the MSM studio is in general, it seems as though your session was rushed in a way that it shouldn't have been, and the overall process was not as methodical nor as thorough as it should have been either.

I feel bad for you, truly, and I hope that between the Smyth's and Stefan Mayer (if he reaches out), whatever lingering issues still remain with your PRIR can be resolved for you.

Thank you for taking the time to give such a detailed account of your experience. I will now likely be having nightmares until the 24th of this month, when I am going to get my own Atmos PRIR done, even though I know my experience will be nothing like yours had been.

 

[GeorgeA]

My experiences doing a Dolby Atmos PRIR measurement at msm studios in Munich, 11.7.2022

......................................

I am sure I will be very happy with my measurements in the future when the last questions have been clarified..................

By reading about your experience at msm studios in Munich, it seems that the conclusion for the Dolby Atmos 9.1.4 measurement in the msm-studios Munich as posted at for-tune site is more for marketing purposes.

“The appointment for the PRIR creation is only successful when we can see a satisfied grin on the customer's face.”

I was contemplating going for Dolby Atmos 9.1.4 measurement in the msm-studios Munich by means of for-tune.de. Although Munich is at about 2-hour flight from where I live, traveling by plane can be a bit complicated. I’m afraid that for security reasons my Realiser A16 unit won’t be allowed as a cabin baggage. The alternative by train means a 12-hour journey.

Anyhow, your report is extremely useful for all prospective buyers. Thanks a lot!

 

[Om ma Ni]

Actually it is not the msm studio staff who is handling the measurement but the For-Tunes German distributor.
He repeatedly said that the placement of the inear microphones was most crucial but he did not explain to me the best insertion angle and distance. Unfortunately.

this information could me gold for all of us ..maybe the most important point was to get them at exact same position for both ear canal i suppose..
Bit surprising if the denoise function was on bc it s supposed to be off when Prir are done in studio grade environment..

 

[Sanctuary]

this information could me gold for all of us ..maybe the most important point was to get them at exact same position for both ear canal i suppose..
Bit surprising if the denoise function was on bc it s supposed to be off when Prir are done in studio grade environment..

I'm not sure this is even possible unless you have ears and ear canals that are perfectly symmetrical. I think it's more a case of getting them as close as you possibly can within your own anatomy.

 

[Richter Di]

Thank you for taking the time to give such a detailed account of your experience. I will now likely be having nightmares until the 24th of this month, when I am going to get my own Atmos PRIR done, even though I know my experience will be nothing like yours had been.

May I ask where you are going to do your measurement?

 

[Om ma Ni]

I'm not sure this is even possible unless you have ears and ear canals that are perfectly symmetrical. I think it's more a case of getting them as close as you possibly can within your own anatomy.

That is true that our ear canals are generally asymmetrical. But what i meant was the distance or topography of the in-ear microphone should be the same?
Maybe as deep as we can inside our ear canal?

 

[Sanctuary]

That is true that our ear canals are generally asymmetrical. But what i meant was the distance or topography of the in-ear microphone should be the same?
Maybe as deep as we can inside our ear canal?

This is exactly how John likes to do it, and what he recommends. Seems to be working well.

May I ask where you are going to do your measurement?

John's studio in NJ.

 

[esimms86]

While I am not sure if the reason's for the rattling were identical, I had a very similar issue with my A8 last summer when doing a 7.1 PRIR. The front right, of the brand new pair of speakers I had just purchased was rattling, and I was afraid that I might have blown it. In my case, part of problem was related to volume. I had to turn my receiver up 25db louder than I previously had been when trying to make a PRIR from just a year prior. It was a newer receiver and newer speakers, but I wasn't getting any low end if I did not turn the volume way up. As it turns out, the A8 had decided to randomly cut off all frequencies below 750hz.

After discovering that to be the problem, and fixing that in the menu, I was able to lower the volume back down to a more reasonable level and the rattling no longer happened. It seems at least like there is a certain pitch (for me it was the lower, starting pitches) and volume combination, and maybe speaker build combination where this will start happening.



First thing I thought before reading this point was how these guys are a bunch of jokers compared to some around here who are just doing this as a hobby. Paid professionals should know at the very least as much as someone who owns, listens to and regularly records with an A16 as a hobby. For how highly regarded the MSM studio is in general, it seems as though your session was rushed in a way that it shouldn't have been, and the overall process was not as methodical nor as thorough as it should have been either.

I feel bad for you, truly, and I hope that between the Smyth's and Stefan Mayer (if he reaches out), whatever lingering issues still remain with your PRIR can be resolved for you.

Thank you for taking the time to give such a detailed account of your experience. I will now likely be having nightmares until the 24th of this month, when I am going to get my own Atmos PRIR done, even though I know my experience will be nothing like yours had been.

Having recently had the 3D SoundShop experience, I can assure you that John will once again prove himself to be knowledgeable, professional and thorough, and so you should sleep like a baby between now and the 24th.

 

[Sanctuary]

Having recently had the 3D SoundShop experience, I can assure you that John will once again prove himself to be knowledgeable, professional and thorough, and so you should sleep like a baby between now and the 24th.

I'm not worried at all about what the experience will be like on the 24th. It's just an anticipation/anxiety issue with me leading up to that day, that's all. I guess it would be easier if I were not a Murphy's Law kind of person though.

 

[VandyMan]

I've been meaning to write up my experience getting a custom PRIR from 3D Sound Shop. After much delay, here it is...

Last year, early on a Sunday morning, I met up with @Litlgi74 (John of 3D Sound Shop) and @phoenixdogfan at a studio in New Jersey in order to make a custom PRIR using Dutch & Dutch speakers.

Months earlier, I had reached out to John when he mentioned on Head-Fi that he was looking for a studio where he could make PRIR measurements. We had many phone conversations about his plans for 3D Sound Shop, the long wait for D&D speakers, and about the Realiser. We quickly become friends. John called me with updates on his D&D speaker saga. Long story short, getting the D&D speakers for measurement took a herculean effort, because the entire supply in the US was spoken for. Somehow John managed to get them and the day for measurements finally arrived.

When I got to the studio at 8:30 AM, John was already hard at work. He spent the next few hours completing the initial setup. I helped out here and there, but John had a plan and had done this many times before, so I mostly chatted with phoenixdogfan and enjoyed getting to know him a bit.

For those interested in the process, I recommend looking for posts from Litlgi74. You can find photos of the carpet John made with all of the speaker and look angels delineated using colored tape — very clever. Since we only had two D&D speakers, the carpet proved essential as we moved each speaker to the precise Atmos position.

You can also see pictures of the solid steel tripod stands that John designed and then had a friend weld together. D&D speakers are heavy and expensive. Setting up the height channels involved bolting the speakers to the custom stands, strapping them in for extra safety, and then using a car jack to raise them to the proper height. The stands needed to be flawless. If the 67 pound speaker had fallen, John would have been out a lot of money and God help anyone sitting under it. The design proved to be safe and effective.

I mention the carpet and the stands because I want to make clear that John is not just some guy who rented a studio and started doing measurements. He did months of research and became a Realiser expert. He developed a working relationship with the Smyths. He built custom gear, wrote detailed plans, worked with dealers/studios/vendors, and so much more. He is an enthusiast at heart, but he is now also a professional.

The initial measurements were taken with the speakers in the stereo position. Before starting, we carefully positioned the speakers using REWS, a microphone, and the software from D&D. At this point, the three of us took a few minutes to listen to the D&D speakers playing music. Wow! Great speakers in an ideal acoustic space. From that moment, I had no doubt that my PRIR would be worth the effort.

From there, we took turns getting measured for each pair of speaker positions. Recall, we only had two D&D speakers. I doubt that very many (any?) multichannel D&D system exist in the world. So those that own the 3D Sound Shop PRIR that we made that day have something pretty unique. Anyway, we moved the speakers to each position, measured, recalibrated, inserted/checked our mics, measured angle 1-2-3, repeat, repeat. No lie, it was a lot of work.

A lot of work, but 100% worth it. Having a custom PRIR changed my Realiser from a cool gadget into an essential part of my A/V system. Before, my Realiser never matched the realism in its speaker virtualization that I heard back when I first demoed it at CanJam (so long ago). With my custom PRIR, the virtualization significantly improves over the stock BBC one. I attribute that to the quality of the speakers and, I think more importantly, the accuracy of the setup and measurement.

I hope that every Realiser owner tries to get a custom PRIR made (or makes one on their own). Preferably in a really good room.

---

TL;DR: Get yourself a custom PRIR made however you are able. I can’t recommend John/3D Sound Shop enough. John is trustworthy, fun to chat with, generous with his time, and knows all things Realiser. Plus, he knows how to make a darn good PRIR!

 

[jk6661]

I plan to get a personal two-channel PRIR with John at a high-end audio place near my house in September. I like listening to two-channel music through the A16, and the two-channel system we'll be measuring costs about $750K(!), so I'm looking forward to it. I'll let you know how it goes. John has been nothing but friendly and professional up until now, so I expect a good experience.

 

[mrmac]

I plan to get a personal two-channel PRIR with John at a high-end audio place near my house in September. I like listening to two-channel music through the A16, and the two-channel system we'll be measuring costs about $750K(!), so I'm looking forward to it. I'll let you know how it goes. John has been nothing but friendly and professional up until now, so I expect a good experience.

Here’s an idea, just make four measurements swivelling around the chair and you’ll have a 7.0 system worth a cool 3 million $$$!

Seriously though, I’m very intrigued on hearing to what extent the A16 can reproduce a system like that. If it’s close, it’s crazy how good value it is.

I would also like to know, if your comfortable to disclose what your paying the store?