The Audyssey Pro Installer Kit Thread (FAQ in post #1) - Page 16 - AVS Forum
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post #451 of 5637 Old 09-11-2011, 10:55 AM
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I'd give that a slightly different spin and lessen the emphasis on music improvement over cinema improvement. My opinion is that surround/front integration improves noticeably, as does subwoofer/mains integration. For me, it did that when done on my 885 and on my 5508. XT 32 was a definite jump over XT, but Pro still improved each further. In fact, I'd say that the 5508's improvements over the 885 was in ways other than the improvement that comes with a Pro calibration.

Target curve editing (and ability to load different calibrations) ices it.

Except for stereo content that is listened to as 2-ch, I can't think of any content that is not improved with Pro. If one uses a listening mode on stereo content, then this one single reservation goes out the window.

Jeff


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post #452 of 5637 Old 09-11-2011, 11:10 AM
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Quote:
Originally Posted by pepar View Post

I'd give that a slightly different spin and lessen the emphasis on music improvement over cinema improvement. My opinion is that surround/front integration improves noticeably, as does subwoofer/mains integration. For me, it did that when done on my 885 and on my 5508. XT 32 was a definite jump over XT, but Pro still improved each further. In fact, I'd say that the 5508's improvements over the 885 was in ways other than the improvement that comes with a Pro calibration.

Target curve editing (and ability to load different calibrations) ices it.

Except for stereo content that is listened to as 2-ch, I can't think of any content that is not improved with Pro. If one uses a listening mode on stereo content, then this one single reservation goes out the window.

Jeff

Guess my decision isn't totally made yet. Hmmmm........

Thanks for the input Jeff
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post #453 of 5637 Old 09-11-2011, 11:19 AM
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Quote:
Originally Posted by BigCoolJesus View Post

Guess my decision isn't totally made yet. Hmmmm........

Thanks for the input Jeff

If you can afford the kit, it would help. If you can't, I don't think that not having it will decrease your enjoyment of your system/room. XT 32, and the fact that it comes in gear that is usually inherently better sounding than XT gear , is the "night and day" bump that SoM cites.

Jeff


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post #454 of 5637 Old 09-11-2011, 03:06 PM
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Quote:
Originally Posted by pepar View Post

If you can afford the kit, it would help. If you can't, I don't think that not having it will decrease your enjoyment of your system/room. XT 32, and the fact that it comes in gear that is usually inherently better sounding than XT gear , is the "night and day" bump that SoM cites.

Jeff

I can afford it....barely. It's one of those choices where I can buy it (and the license) but it means really tightening my AV budget, especially blu ray purchases. So I'm gonna play it safe and hold off on the Pro purchase. Maybe if I win some extra money during football season or what not I'll grab one.

A little off topic, but besides the noticeable MultEQ vs. XT 32 difference, can I expect better overall sound/clarity when listening at reference levels since I am upgrading to a more powerful/robust receiver? More watts per channel makes a good difference to loud listening, wouldn't that be the thought process? Along with better power supplies, transformers, etc.

Thanks so far guys.
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post #455 of 5637 Old 09-11-2011, 03:32 PM - Thread Starter
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^yeh, pretty OT. Careful or you'll bring the mods down on us. No, I would not expect better SQ due to more powerful internal AVR amps unless your current ones are being overdriven (you'd hear clipping distortion and a lack of dynamics at volume).

Yes, I still like playing with Dalis.

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post #456 of 5637 Old 09-11-2011, 05:21 PM
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Quote:
Originally Posted by pepar View Post

If you can afford the kit, it would help. If you can't, I don't think that not having it will decrease your enjoyment of your system/room. XT 32, and the fact that it comes in gear that is usually inherently better sounding than XT gear , is the "night and day" bump that SoM cites.

Jeff

I'll bite, Jeff I think my 5007 sounds identical to the 5008, XT32 notwithstanding. But yeah, IKWYM in general...

Kind Regards,

Keith


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post #457 of 5637 Old 09-11-2011, 05:21 PM
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looking someone have or want to use this pro kit in singapore/indonesia region...
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post #458 of 5637 Old 09-11-2011, 05:29 PM
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Quote:
Originally Posted by kbarnes701 View Post

I'll bite, Jeff I think my 5007 sounds identical to the 5008, XT32 notwithstanding. But yeah, IKWYM in general..

That is my understanding as well ... the substantial SQ improvement happened, in terms of pre-pros, from 886 generation to the 5507 one.

The context was to kit or not to kit.

Jeff


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post #459 of 5637 Old 09-11-2011, 05:32 PM
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Quote:
Originally Posted by BigCoolJesus View Post

I can afford it....barely. It's one of those choices where I can buy it (and the license) but it means really tightening my AV budget, especially blu ray purchases. So I'm gonna play it safe and hold off on the Pro purchase. Maybe if I win some extra money during football season or what not I'll grab one.

I think there are other things you could buy that would probably make more sense before you consider going the Audyssey Pro route. And if buying gear is at the expense of buying movies, I can't quite see the logic - the gear is for playing the movies, not the other way around

Quote:
Originally Posted by BigCoolJesus View Post

A little off topic, but besides the noticeable MultEQ vs. XT 32 difference, can I expect better overall sound/clarity when listening at reference levels since I am upgrading to a more powerful/robust receiver? More watts per channel makes a good difference to loud listening, wouldn't that be the thought process? Along with better power supplies, transformers, etc.

Thanks so far guys.

Yes - the more power you have, the more headroom you have and the less likely you are to drive your amps into clipping. Reference is ****ing loud and therefore needs a lot of amp power, so the more the better. You can never have too much amp power IMO, all things being equal. A big amp, loping along well within its capabilities is always going to be better than a smaller amp working flat out. But HST, do remember that a *doubling* of amplifier power (watts) is only equivalent to an extra 3dB of perceived loudness. So you really need an amp twice as powerful as the one it's replacing in order to reap real benefits. This is where the external amps come into the equation: for starters, their specs are generally way more realistic than those of AVRs (i.e. they can deliver their rated power into all channels instead of just one or two). And they are not subject to the constraints of AVRs - i.e. small (comparatively) cases which inhibit the size of transformers/power supplies and so on. AVRs are always going to be a compromise, albeit a good one in terms of value for money, whereas separates are usually far less compromised. I'm not trying to talk you into external amplification - just pointing out some of the benefits. A more expensive AVR may also benefit from higher spec components in general and thus give a better overall sound because of that, rather than just sheer extra power. You also need to take account of speaker efficiency, speaker impedance and room size of course.

EDIT: SoM is right of course when he says that unless you are already overdriving your current amps then bigger ones won't really add anything. But you specifically mentioned listening at Reference levels, and that does require some brute force I reckon. Do you *really* want to listen at 0dB? I find it is way too loud in my similarly sized room.

Kind Regards,

Keith


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post #460 of 5637 Old 09-11-2011, 05:34 PM
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Quote:
Originally Posted by pepar View Post

That is my understanding as well ... the substantial SQ improvement happened, in terms of pre-pros, from 886 generation to the 5507 one.

The context was to kit or not to kit.

Jeff

Yeah. I was just biting for fun

Kind Regards,

Keith


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post #461 of 5637 Old 09-11-2011, 05:36 PM
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Thanks. I never know anymore if it looks like I am trolling.


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post #462 of 5637 Old 09-11-2011, 05:41 PM
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Thanks. I never know anymore if it looks like I am trolling.

I've had more than my share of Wyborowa tonight, so I am rolling rather than trolling It's almost 2 in the morning here, so I am off to bed... enjoy the rest of your day, America!

Kind Regards,

Keith


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post #463 of 5637 Old 09-11-2011, 05:43 PM
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Try Tito's Handmade. From Texas.

edit: And a Pro Kit.


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post #464 of 5637 Old 09-11-2011, 05:47 PM
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Not trying to keep this off topic, but recently I've gotten down to -5dB while watching movies with no listening fatigue, Keith. Hence why I was wondering if the upgrade of the AVR alone (without accounting for Audyssey upgrade) would also add a little more clarity or what have you to my ever increasing listening loudness level.....definitely going to push it to -4dB once I get XT 32 and see what she can do! lol
(I do listen to bluray concerts at 0dB already though)

As stated, I'll enjoy the jump to XT 32 and not worry about Pro unless I win my fantasy league or pick all 16 games for a week of NFL correct (5 grand if I do). I'm sure the jump to XT 32 will be more than enough to bring a big smile to an already good setup I have going
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post #465 of 5637 Old 09-11-2011, 09:58 PM
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I haven't heard Pro myself... but the way I look at it is that it is the icing on the cake. Very few people describe it as a "night and day" difference, it just adds the final touch of polish and tweakability to the Audyssey package. So I think it's the finishing touch on an already great system, but way down the list of priorities given limited resources for somebody building up.

In other words, go get some of those Halo poster acoustic panels

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post #466 of 5637 Old 09-12-2011, 01:46 AM
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Quote:
Originally Posted by pepar View Post
Try Tito's Handmade. From Texas.

edit: And a Pro Kit.
It's only Polish for me... nothing has the flavour of Polish in my experience. But yeah, I'd sure try Tito's if I was anywhere near anywhere it was available. Hic.

EDIT: Yeah, and a Pro Kit

Kind Regards,

Keith


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post #467 of 5637 Old 09-12-2011, 01:59 AM
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Hi,

Quote:
Originally Posted by SoundofMind View Post
^Unless you're lucky enough to find a used kit, it's $550, plus $150 for license=$700. And IME it is NOT "night and day". I don't get the same "bump up" from Pro as I did upgrading from XT to XT32.

Pro's big value-added for me is the distinct and significant SQ improvements for MC music. It does improve film, but probably not noticably to the same degree as music, as mj mentioned. The customization and measuring capabilities are nice plusses too.
IMO the immediate perceived value of Pro is a real disappearance of the possibility to easily localize the sound coming from a given speaker. This translates into a much greater transparency of the global reproduced sound.

Now with music only, as there is no visual stimulus which is present, one focuses only on the hearing (of the reproduced sound), the evidence of the effect is though much more perceivable.

In HT, this transparency is evidently still present. But as it is superposed to the visual sense, which is predominant, it becomes only a part of a global message, so it is less noticeable by itself. But it participates to something which ends up as a more immersive impression.

Anyway IMO, any installation, of any value, will be seriously improved with Audyssey Pro. The value of improvement vs cost, remaining an individual investment appreciation.

Hugo


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post #468 of 5637 Old 09-12-2011, 02:01 AM
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Quote:
Originally Posted by BigCoolJesus View Post
Not trying to keep this off topic, but recently I've gotten down to -5dB while watching movies with no listening fatigue, Keith. Hence why I was wondering if the upgrade of the AVR alone (without accounting for Audyssey upgrade) would also add a little more clarity or what have you to my ever increasing listening loudness level.....definitely going to push it to -4dB once I get XT 32 and see what she can do! lol
(I do listen to bluray concerts at 0dB already though)
If you experience no listening fatigue at -5dB, then chances are that you are not running the amps beyond their design capabilities, into distortion or clipping. If that is the case, and if -5dB is enough for you, then you don't really need any more amp power, at least in theory. I say 'in theory' because I am a huge fan of headroom. Momentary peaks can soar to huge dB levels regardless of what your average dB level is, and if the amp doesn't have 'room' to handle those peaks, then it will start to sound rough, or you will hear compression or a lack of dynamics in the sound. When you have 'limitless' headroom, the sound suddenly becomes more relaxed even at the highest SPLs, more 'open' if you will and clean and smooth even when all hell is breaking loose on the screen. A useful, albeit unscientific, test of headroom is if the system doesn't 'sound loud' even when it is hitting very high dB levels. What usually makes a system 'sound loud' to human ears is some form of distortion - if it doesn't 'sound loud' then chances are your distortion levels are very low. Similarly with listening fatigue - you can listen to a good system, working within its limits, endlessly at very high SPLs, whereas as soon as you run into distortion, your brain tires of it and 'listener fatigue' sets in. If your new AVR has a *significant* increase in power (watts) over your old one, then yes, you may notice a cleaner sound. But remember that you need to double watts to get an extra 3 dB of sound level. Going from 120 watts to 150 watts, for example, is meaningless. Going from 120 watts to 250 watts is significant. Also, AVR manufacturers are notoriously tricky when it comes to specifying their WPC. They quote into 6 ohms instead of 8, they rate at distortion levels higher than they should, they quote into one or two channels and not all 5 or 7 etc. All of that gives a higher 'headline figure' but not necessarily any more power in real life. There is also the possibility that a higher end AVR may use better components and that in itself may cause an improvement in SQ. I generally look for a substantial power supply/transformer in an amp - if the power supply/transformer isn't able to deliver the current demanded by the speakers, then the amp will never perform satisfactorily. This is one of the benefits of external amps - they have room for huge power supplies which simply can't fit into an AVR case.

Quote:
Originally Posted by BigCoolJesus View Post
As stated, I'll enjoy the jump to XT 32 and not worry about Pro unless I win my fantasy league or pick all 16 games for a week of NFL correct (5 grand if I do). I'm sure the jump to XT 32 will be more than enough to bring a big smile to an already good setup I have going
XT32 will certainly make a big difference. I'd be interested to hear what you think when you've set it up.

Kind Regards,

Keith


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post #469 of 5637 Old 09-12-2011, 02:18 AM - Thread Starter
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Quote:
Originally Posted by Hugo S View Post
...IMO the immediate perceived value of Pro is a real disappearance of the possibility to easily localize the sound coming from a given speaker. This translates into a much greater transparency of the global reproduced sound.
Now with music only, as there is no visual stimulus which is present, one focuses only on the hearing (of the reproduced sound), the evidence of the effect is though much more perceivable.
In HT, this transparency is evidently still present. But as it is superposed to the visual sense, which is predominant, it becomes only a part of a global message, so it is less noticeable by itself...
All good points indeed. I come from a music background and pretty much know what I should hear from music recordings. For film, I really don't listen in the same way nor do I feel as confident that I "know" what I should hear. I like to be enveloped in sound and trnsported into the story. For ex., I usually use DSX wides for film, despite the fact that it may slightly distort the film mixer's intent. For critical listening to most quality music recordings I listen in the mode it was recorded, i. e., stereo for 2 ch and 5.1 for MC. I don't use expansion modes including DSX as I find the loss of precise imaging for a wider soundstage a poor trade-off.

Yes, I still like playing with Dalis.

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post #470 of 5637 Old 09-12-2011, 02:58 AM
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Quote:
Originally Posted by SoundofMind View Post
All good points indeed. I come from a music background and pretty much know what I should hear from music recordings. For film, I really don't listen in the same way nor do I feel as confident that I "know" what I should hear. I like to be enveloped in sound and trnsported into the story. For ex., I usually use DSX wides for film, despite the fact that it may slightly distort the film mixer's intent. For critical listening to most quality music recordings I listen in the mode it was recorded, i. e., stereo for 2 ch and 5.1 for MC. I don't use expansion modes including DSX as I find the loss of precise imaging for a wider soundstage a poor trade-off.
I still have my old, but good, stereo system in a different room to my HT. I don't know why but I don't get all that excited about Mch music. I have about 1000 CDs and 99% of them are in plain old two channel stereo, and, like you, that is my preferred playback means. I have a few Mch discs and have played them on my HT setup but, to me, they never seem to sound quite right. This may well be because my HT system is optimised solely for movies of course. I do have a small number of concerts and gigs on Blu-ray and these are, of course, multichannel - but once you introduce the visual element, as you say, the ball game changes anyway and the experience is more akin to watching a movie. I often listen to music in a totally dark room and am amazed at how good my stereo system sounds, even though no component has been upgraded for at least ten years. I use all-Class-A amplification and a Naim Audio CD player that cost a fortune when I bought it but has been a good investment with tremendous manufacturer support if it is needed. All this of course is played with no room EQ, no DSPs, no tone controls of any sort, no anything really - and it sound superb. I did spend enough money to buy a small house between the early 70s and the end of the 20th century though, all on improving my hi-fi system and music reproduction.

We are getting way OT here and I fear the wrath of the mods will descend if we persist, interesting though it is. The semblance of adhering to the Topic is that I find my music reproduction to be superb without anything even remotely as sophisticated as Audyssey, yet in my HT I consider Audyssey to be one of the most important system parameters of all. I guess stereo, with two speakers and two amp channels, is simpler.

Kind Regards,

Keith


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post #471 of 5637 Old 09-12-2011, 03:46 AM - Thread Starter
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^he-he, I think the mods issue is just a running gag here cuz they hopefully have bigger fish to fry than to butt into polite and informed discussion, albeit OT, on an obscure little thread.

I enjoy well-recorded redbook CD but so much of what's out there is highly compressed, poorly recorded/mixed. A lot of music I really like is readily available in that format, but is either not avialableor extremely expensive in HiRes , for ex., Allison Krause. In contrast some HiRes material sounds so good that I buy and listen to artists and styles I might not have otherwise. This expands my horizons. I can get very excited about MC music when it's well done and to my taste, like Steely Dan's Goucho. But again, my system is optimized for that, perhaps somewhat at the expense of film, as I have direct-firing surrounds less than a foot over seated ear level aimed right at MLP. But my objective at the outset was for a dual-purpose system in one room.

Your satisfaction with stereo music redbook CD is not unexpected given your quality equipment. My guess is that you are seated pretty nearfield and/or your stereo listening room has decent acoustics, and you've learned to "listen through" whatever acoustic weaknesses may be present. I think you're right, stereo is simpler, but I wonder if have you ever tried adding room correction DSP to the audio chain in that room? I spent a lot of time and effort discovering that my room is so awful acoustically that no matter how good the analog chain, DSP trumps. And WAF limits my "treatments" to those found in normal living rooms, such as curtains and carpet.

Yes, I still like playing with Dalis.

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post #472 of 5637 Old 09-12-2011, 05:32 AM
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Originally Posted by SoundofMind View Post
All good points indeed. I come from a music background and pretty much know what I should hear from music recordings. For film, I really don't listen in the same way nor do I feel as confident that I "know" what I should hear. I like to be enveloped in sound and trnsported into the story. For ex., I usually use DSX wides for film, despite the fact that it may slightly distort the film mixer's intent. For critical listening to most quality music recordings I listen in the mode it was recorded, i. e., stereo for 2 ch and 5.1 for MC. I don't use expansion modes including DSX as I find the loss of precise imaging for a wider soundstage a poor trade-off.
What I notice with a Pro calibration, as I've previously posted, is improved integration of the surrounds and fronts and mains, in general, with the subwoofer.

To turn that into more than words, my current example is the meat processing plant scene in Sherlock Holmes where Lord Blackwood's disembodied voice moves around the room. Regardless of where his booming baritone is, it sounds exactly the same. My fronts are crossed at 80Hz and surrounds at 100Hz, so there is content from his voice being reproduced by my subwoofers and differing amounts because of the different crossovers. But his voice is anchored to one spot after another in succession four of five times, and some of the "spots" are not at speaker locations. Imaging between front and surround as well as surround and rear surround is uncanny.

Try it and see (hear) if it works like that on your system!

edit: This improved .. over already great from MultEQ XT .. integration of surrounds/fronts and sub/mains with a Pro cal makes phantom placement of instruments and voices that much more solid in multichannel music. After my recent upgrade to the 5508 and a Pro calibration, I had to get out of my seat and place my ear close to a surround speaker that was not connected to verify that it was not producing sound.

Jeff


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post #473 of 5637 Old 09-12-2011, 07:44 AM
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Originally Posted by pepar View Post

What I notice with a Pro calibration, as I've previously posted, is improved integration of the surrounds and fronts and mains, in general, with the subwoofer.

To turn that into more than words, my current example is the meat processing plant scene in Sherlock Holmes where Lord Blackwood's disembodied voice moves around the room. Regardless of where his booming baritone is, it sounds exactly the same. My fronts are crossed at 80Hz and surrounds at 100Hz, so there is content from his voice being reproduced by my subwoofers and differing amounts because of the different crossovers. But his voice is anchored to one spot after another in succession four of five times, and some of the "spots" are not at speaker locations. Imaging between front and surround as well as surround and rear surround is uncanny.

Try it and see (hear) if it works like that on your system!

edit: This improved .. over already great from MultEQ XT .. integration of surrounds/fronts and sub/mains with a Pro cal makes phantom placement of instruments and voices that much more solid in multichannel music. After my recent upgrade to the 5508 and a Pro calibration, I had to get out of my seat and place my ear close to a surround speaker that was not connected to verify that it was not producing sound.

Jeff

YMMV, of course. But, I do not think I heard much difference in integration of either mains/surrounds or with the sub in going from an Integra 80,1 to and 80.2 w. XT. It was superb in both cases. The big difference for me was in tonality, where I felt the 80.2 was significantly better sounding in the 80-500 Hz range of most music fundamentals. The Pro graphs, if they can be believed (I think they can), also showed a much flatter response in that critical range by nearly +/- 2 dB to a deviation from the target curve of about +/- 0.75 dB. The ups and downs were also smoother and less choppy.

I do agree about using music as a reference. I cannot tell much of anything in the small range of frequency deviations we are talking about with movies. For one thing, the sound comes and goes too much with long periods of dialogue in between. Movie music is also usually studio-recorded, unlike the hall-recorded Mch classical SACD's I use vs. the live performances I go to. (My local Philadelphia Orchestra has a number of excellent Mch disks out recorded live, and I hear that orchestra about 15 times/year live.) Car crashes, cannon shots, helicopters, etc. are useless to me in determining comparative sound quality.

I did find the sonic improvement between the 80.1 and 80.2 to be much bigger and much more worthwhile than the difference between the 9.8 and 80.1. I had each pair side-by-side in my system for extended periods. I would expect the Onkyos, which are nearly 100% identical inside, to be the same.
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post #474 of 5637 Old 09-12-2011, 08:14 AM
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YMMV, of course. But, I do not think I heard much difference in integration of either mains/surrounds or with the sub in going from an Integra 80,1 to and 80.2 w. XT. It was superb in both cases. The big difference for me was in tonality, where I felt the 80.2 was significantly better sounding in the 80-500 Hz range of most music fundamentals. The Pro graphs, if they can be believed (I think they can), also showed a much flatter response in that critical range by nearly +/- 2 dB to a deviation from the target curve of about +/- 0.75 dB. The ups and downs were also smoother and less choppy.

I do agree about using music as a reference. I cannot tell much of anything in the small range of frequency deviations we are talking about with movies. For one thing, the sound comes and goes too much with long periods of dialogue in between. Movie music is also usually studio-recorded, unlike the hall-recorded Mch classical SACD's I use vs. the live performances I go to. (My local Philadelphia Orchestra has a number of excellent Mch disks out recorded live, and I hear that orchestra about 15 times/year live.) Car crashes, cannon shots, helicopters, etc. are useless to me in determining comparative sound quality.

Agreed. Myself and the guys in our local HT group use music as our calibration "test signals" for the purposes of editing the target curve in my case, or simply verifying the MultEQ XT/XT 32 calibration. We refer to it as well-recorded titles, some 20-bit and/or live.

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I did find the sonic improvement between the 80.1 and 80.2 to be much bigger and much more worthwhile than the difference between the 9.8 and 80.1. I had each pair side-by-side in my system for extended periods. I would expect the Onkyos, which are nearly 100% identical inside, to be the same.

Ooooh, not what Keith wanted to read!


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post #475 of 5637 Old 09-13-2011, 12:40 AM
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Hi Jeff,

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Originally Posted by pepar View Post

What I notice with a Pro calibration, as I've previously posted, is improved integration of the surrounds and fronts and mains, in general, with the subwoofer....

This is what I call "greater transparency of the global reproduced sound", other cultures, other words...

FWIW I had the privilege to meet Chris at a remote place during the recent IFA show in Berlin (a video/feed back in French can be seen here). The meeting was a VERY informative, singularly on how Audyssey Pro (the same software as we use) is silently spreading in the Pro world.

Now concerning the listening habits, as far as I am concerned, I have an Audyssey DSX 11 type of installation (with adequate angling) and Pro calibrated.

The environment is 90% HT, 10% music and I always use DSX W+H (in 9.2 as I have a 5508). In my opinion this is what gives the best seamless immersive and wrap around impression, very natural, even if "localization" is not as precise as what stereo reproduction may give.

But now what is more life like? DSX! (IMHO)

Krgds,

Hugo


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post #476 of 5637 Old 09-13-2011, 10:01 AM
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Agreed. Myself and the guys in our local HT group use music as our calibration "test signals" for the purposes of editing the target curve in my case, or simply verifying the MultEQ XT/XT 32 calibration. We refer to it as well-recorded titles, some 20-bit and/or live.

Ooooh, not what Keith wanted to read!

I'd expect the end-result sound of the 80.2 to be better than the 80.1 though, simply because XT32 gives a better result than plain old XT. But I don't believe the amp or preamplifier section of the two units have any differences at all.

I'm away this week but couldn't resist biting

Keith
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post #477 of 5637 Old 09-13-2011, 11:03 AM
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I think you are right.


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post #478 of 5637 Old 09-19-2011, 04:44 PM - Thread Starter
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Guys, is there a forum or resource (other than calling Luke) for us "Pro Installers" on the Audyssey Pro Installer website? Does anyone know of a Pro webinar or some such?

Yes, I still like playing with Dalis.

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post #479 of 5637 Old 09-19-2011, 05:12 PM
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I asked that before buying a kit and found that when they had them, they tended to be at CEDIA and such. But I don't know that they do them anymore. I was told that the instructions were so good that I would have no problems. And that Luke was a phone call away if I did have a problem. So I waded in.

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post #480 of 5637 Old 09-19-2011, 05:45 PM - Thread Starter
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^ Luke is a really nice guy. He told me, "Call anytime, I can be your new best friend."

Yes, I still like playing with Dalis.

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