[phoenixdogfan]

Is anyone using the A16 in combination with a Mac running current MacOS? The v2 manual indicates the "USB interface only functions with Mac OS 10.12 [2016] or older".

Originally I wanted to go M1MacMini>USB>A16 for two scenarios: 1. Listen to multichannel music using JRiver. 2. Watch Dolby/Atmos movies using VLC.

I understand that's not possible and I need to use different interfaces.

USB for up to 16ch LPCM. However this is not possible with current MacOS?

HDMI for DD, DD+, Atmos.

So what device(s) do I need to be putting between the Mac and A16? For example, a USB DAC that can accept LPCM/DD/DD+/Atmos via USB and has HDMI out, if such a thing exists, and assuming DD/DD+/Atmos can even be transported via USB (or does it have to be decoded on the Mac first)... oh god!

So many formats, interfaces, devices, wires, I'm so lost!

Hi Monkey King. Not sure why you need to use an M1 Mini as your source here. Personally I want something which will play steaming media of all kinds and be able to play local media and pass all audio as a bitstream to the A16 which can decode it. After the A16 decodes, it will pass either a binauralized analog signal throught its headphone jacks, or a binauralized two chanel LPCM digital signal via either USB, SPDIF, or TOSLINK optical to a DAC/Amp combination of your choosing. Or it will also pass 16 channels of analog to an amplifier in home theater mode.

So, for me, the question becomes what can pass those bitstreams from both streaming and local sources. I found an NVidia shield pro would work just fine becaue it will pass all the streaming video sources (Netflix, ATV+, Tidal, ect) and render video in either Dolby Vision or HDR 10, along with all the streaming audio including ATMOS bitstreams. Moreover, it can support a Plex Server, which will play any local media you might have. It also has a Tidal app, and Tidal suports ATMOS music streams.

I send those AV streams to my LG C1 via HDMI. I can then use LG eARC passthrough to send all that bitstream audio to the A16 for decoding while controlling the Shield on the monitor which plays the video part of the streams.

The Plex server is free, the NVidia is around $200, and, of course, you would need a video monitor that supports eARC to make a system like this work.

I'm actually thinking about adding an M1 Mini with Apple Silicon for my speaker based home theater, but I don't envision it playing a role in my headphone based system.

If you think about it, there's no real reason those two independent systems can't coexist in the same equipment rack once you realize everything doesn;t have to go through one hub to work.

 

[Monkey King]

Ok, I can confirm that the Smyth Research FAQ is still out of date when it says, "Sweeps can also be directed to the 16-ch analog outputs, the SPDIF or the mono speaker/tactile output". Sweeps can not be directed to SPDIF out.

I have a set of ASYNC 7.1.4 test tones (wav files from the shared Google Drive), is there instructions on how to edit these files for just a simple 2CH measurement? For example, how to decipher the preamble coding.

 

[Eich1eeF]

Ok, I can confirm that the Smyth Research FAQ is still out of date when it says, "Sweeps can also be directed to the 16-ch analog outputs, the SPDIF or the mono speaker/tactile output". Sweeps can not be directed to SPDIF out.

I have a set of ASYNC 7.1.4 test tones (wav files from the shared Google Drive), is there instructions on how to edit these files for just a simple 2CH measurement? For example, how to decipher the preamble coding.

If you really want to take any of the async files from the google drive and use them for 2.0, just map all channels on the left (i.e. surround left, top left, ...) to the left, and all others to the right side and wait the extra minute or two. I haven't checked for usability in 2.0, but afaik the consensus is that the files that are publicly available are mostly broken - that definitively affects anything beyond 8 channels. I have looked into reverse-engineering the DTMF tones, but with the broken files and the fact that only so few are available, it was way easier to work with Gilles and make the full set (ok, just those that are currently useful) of Atmos encoded async files. My recommendations remain the same: purchase a Club Realiser membership from Giles or ask the Smyths for async files for Room 60.

 

[Dixter]

So I said a few days back that I would post how subscribing to the French A16 club went...
I went thru the required steps and paid the admission...
after a few days I get an email from Gilles and he asks for my serial number for the A16.. that sent and then a few more days went by and I get another email saying I can now log on... but for some reason my password would not work.. and I was sent another password that works fine... so all is good and you now don't need to be a customer that bought your A16 from Gilles... its open to others, you just need to pay for admission... and of course once you are a paid member then the Manual ( in french ) and the PRIR rooms are now available for you to use or post your own PRIR rooms... and the 5 different files used for capturing a room of your own... the files are nice as not only do they provide the sweeps but they also have the ques for where to look and when... also while the files are being used there is a visual showing what speaker is being recorded during the sweeps... very well done by Gilles..

 

[Eich1eeF]

The files are nice as not only do they provide the sweeps but they also have the ques for where to look and when... also while the files are being used there is a visual showing what speaker is being recorded during the sweeps... very well done by Gilles..

Gilles organised the WAV files for the async sweeps from the Smyths and tested the encoded files, but I made those videos using bash, imagemagick, sox, ffmpeg and the AWS media encoder. Still haven't used any of them, since I'm still waiting for the AES upgrade...

 

[Dixter]

Gilles organised the WAV files for the async sweeps from the Smyths and tested the encoded files, but I made those videos using bash, imagemagick, sox, ffmpeg and the AWS media encoder. Still haven't used any of them, since I'm still waiting for the AES upgrade...

Good job they will come in handy when I get to use them for the recording...

 

[Richter Di]

With this weeks iOS Update 16 Apple has a new feature which you can use if you have newer iPhone and something like the Airpod Pro’s.



I have tested the new ”personalized spatial audio“ feature with predominantly 2 channel content, especially radio plays, which is then transformed into the 3D sound either with fixed head position or with headtracking. Now with radio plays the effect is incredible. Every voice, every sound source, like a ticking clock is positioned super precisely outside the head and the naturalness is significantly improved.
Music, at least with my Airpod Pros sounds relatively thin. And with that, of course, it's no competitor to the disproportionately more expensive combination of A16 and HD800. But a real gain when listening to listening to radio plays in any case.

 

[madison437]

Hi Christian

yes, very interesting what Stephen answered (maybe he just wanted to make sure no one tries to binary edit his files and run into an unexpected error or problem). Just try for yourself and alter the header inside a PRIR (for a start, just alter a single character, eg, instead of HD800 make it Hd800), load it (and the original file) into the A16 and have fun with your changed text in the A16 display. Then make an AB listening comparision between your original file and the file with the changed header, and if you will hear a difference between them, you will have won a free beer
I usually leave the A16 entries at it‘s default and do replace the complete header in the files on the PC.

Concerning the different head positions and microphone placements: yes, it‘s absolutely true that the head position makes a difference and your idea of an headrest to compare different measurements is convincing. In regards of the position of the small holes in the mics: my experience is that in terms of tonalityI hear no difference, but in being able to localise the exact position of a given instrument in the stereo panorama and comparing the position with the stereo-panorama of the real speakers, there is a difference (for me, best results I am getting by pointing the small holes to the rear, see my earlier post here: https://www.head-fi.org/threads/smyth-research-realiser-a16.807459/post-15325554 ).

I compared two sets of A16 microphones as well and even made a special cable to connect A8 microphones to the A16 (I asked Mike Smyth and he sent me the required connection drawing to be able to connect A8 microphones to the A16). I then tried to compare the A8 microphones with the A16 microphones connected to the A16 (there is a switch in the A16 measurement setings which - when set correctly - will correct for a small frequency response difference between the two mic types). Due to not enough spare time unfortunately, I have not finished the mic comparison until now. Setting the A8/A16 mic type switch correctly is mandatory (I did measurements with correct and incorrect mic settings to make sure the switch is doing what it should - and it does it correctly). Anyway, there are no big differences betwen the mic types based on what I have heard so far (with the exception of the stereo panorama positioning, as explained before).

Hope to find some more spare time to do a follow up with A8/A16 mic measurements. For me, all A16 measurements I did so far (regardless of A16 or A8 mics being used) do sound to bright initially and need a correction with a manSPK HPEQ. Good thing is: when you have created a good sounding manSPK HPEQ, you can use it with all self-made PRIRs (and the same headphone of course).

Hi, does anyone on the forum have the connection drawing / recipe to connect the A8 mics to the A16?

Would be very much appreciated.

Regards,

- madison

 

[Dixter]

Those mics are not interchangeable..

 

[madison437]

Those mics are not interchangeable..

Hi Dixter, formally that is correct, they are not interchangeable.

However, the A16 is designed to be used with the A8 mics as well, presumably if you have the cabling / impedance done properly.
There is even a setting on the A16 to compensate for the difference in freq response between the mics.

In the A16 manual it states:
"5.3.3.6 Mic Type

Normally set to A16. The A16 and A8 binaural microphones have slightly different frequency response characteristics, and this menu option partially compensates for this difference. It does not compensate for the electrical differences between the microphones.

Caution: The A8 microphones CANNOT be used directly with the A16 and will be damaged if this is attempted. Please contact the company if you
wish to connect A8 microphones to the A16."

In addition, Rene Lou states in that posting I'm replying to that he received the diagram to adapt the A8 mics to the A16.
I have contacted Smyth Research, but have not heard back yet, and was wondering merely if someone had the diagram / recipe on hand.

 

[Dixter]

Ok... understand your request now... wonder if Rene Lou would still have it if still around... I don't know his status... maybe even the French Dealer Gilles could help you too..
here is his email... info@av-in.fr would be nice to know how to use them

 

[madison437]

Ok... understand your request now... wonder if Rene Lou would still have it if still around... I don't know his status... maybe even the French Dealer Gilles could help you too..
here is his email... info@av-in.fr would be nice to know how to use them

Thanks, Dixter. Much appreciated.

I actually PM'd Rene Lou, but it seems like he hasn't been on the forum in a while. I will indeed try Gilles next.

 

[JonFo]

Music, at least with my Airpod Pros sounds relatively thin. And with that, of course, it's no competitor to the disproportionately more expensive combination of A16 and HD800. But a real gain when listening to listening to radio plays in any case.

Even with the significantly better AirPod MAX headset, the immersion, while a nice step up from the generic HRTF, is still not as accurate as the A16.

But, I'll admit to using the A16 less and less, as it is in the same system with the ATV and the OLED, and often, I just use the Airpod MAX direct from the ATV when doing private watching early in the morning, for non-action Atmos movies or shows, it is good enough.

Also F1 races on F1.tv (I have a subscription) are in 5.1 and using the Max to watch the races on early Sunday mornings is, again, good enough, and oh so convinient, as if I need to run to the kitchen for a refill on the coffee, I don't miss a beat of the audio track.

BTW- the Max has one of the deepest, msot accurate low-ends I've ever heard on headphones. It's so good it's anyoning on poorly produced content with rumble that most other devices can't reproduce. But on great music, it is mind blowing.

 

[sander99]

using the Max to watch the races

Using the Max for watching Max win the races seems appropiate somehow...

 

[Litlgi74]

Is anyone using or tried the Sennheiser 6xx with the A16?

I'm looking to get a pair for my wife and I. I thought I'd surprise her with Susvara... But she said "NO... they look ridiculous!" Even more so than my 1266 TCs. Apparently she is cares more about esthetics than sound.

So I thought I get something a little more traditional looking and neutral sounding... With a 30 day return policy.

I'm really not a fan of the Sennheiser house sound... But I can always tweek it with EQ.

I'd love to hear your thoughts. Pros and Cons?

PS... I'm amazed she is even willing to use the A16 with me. She HATES electronics.