Integra DHC-80.3 - Page 145 - AVS Forum
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post #4321 of 4328 Old 01-03-2015, 09:40 AM
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is anyone controlling this unit thru rs-232. I am trying to do so but can't get it going. Is there a setup that I need to configure. Do i have to turn of network control in the network dhcp section? Any advise on getting this done would be greatly appreciated

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post #4322 of 4328 Old 01-03-2015, 03:08 PM
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Originally Posted by jkasanic View Post
+1 to this as well. If your sub has an active crossover setting then it needs to be set higher than the crossover Audyssey would pass to the AVR (or typically set to its highest value). This recommendation must be done before Audyssey is run though or the crossover recommendation to the AVR will be limited by the sub itself.
I have my subtwoofer crossover bypassed. Therefore after running audessy, there is no need to adjust crossovers in the 80.3 menu?

On a side note, I am super lame and still can not find where you can change crossover settings (raise them) in the 80.3 menus
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post #4323 of 4328 Old 01-04-2015, 05:09 AM
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Originally Posted by Diamond Dog View Post
I have my subtwoofer crossover bypassed. Therefore after running audessy, there is no need to adjust crossovers in the 80.3 menu?

On a side note, I am super lame and still can not find where you can change crossover settings (raise them) in the 80.3 menus
Read pages 34 and 53 of the manual:
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post #4324 of 4328 Old 01-04-2015, 10:24 AM
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Originally Posted by jkasanic View Post
Read pages 34 and 53 of the manual:
I read that and I think if you use Audessy, it sets all of that for you and you can not manually set it. You can only manually set it if you do not use Audessy (and you can not raise crossover levels after the your run and save Audessy)

I guess I got confused by reading this Audessy setup guide posted on AVS. It seems to not be written for any specific model so a lot of the things he mentions to adjust are not applicable?

Audyssey Setup Guide
Created (compiled) by giomania
The step-by-step instructions below are based on information collected from the Audyssey FAQ, located here: and the AVS Forum Official Audyssey thread, located here:

Disclaimer: The following procedures may not work in all cases, as there are too many variables to account for in this document. If you feel further assistance is required, please visit the AVS Forum Official Audyssey thread. Last, this document has been proven to lead to Audyssey Obsessiveness Syndrome (AOS) in some susceptible Audysseyphiles.

I. Room Setup

  • Lower the noise floor of the room (<45dBA) by turning off the HVAC system, projector, etc. as well as ensuring other noise sources inside or outside your dwelling are at a minimum.

II. Subwoofer Setup

A. Determine the optimal placement of the subwoofer within your room using common accepted practices. (location, location, location)

1. Here are some useful references for subwoofer setup:
a. Audioholics subwoofer placement article:
b. Harman multiple subwoofer placement white paper:
c. Subwoofer crawl:

B. Disable the Low-Pass Filter (LPF) on the subwoofer, if allowed.

1. Disabling the LPF will result in more accurate subwoofer distance measurements.

2. If the LPF cannot be disabled, set it to the highest frequency allowed (e.g. 150hz).

C. Ensure the subwoofer(s) are at least 3 – 5 inches (7 – 13 cm) from the wall.

1. Reverberating walls may result in inaccurate subwoofer distance measurements.

D. Set the subwoofer polarity (0 or 180 degrees), (+ or -) to “0” or “+”.

E. If the subwoofer has a phase control (in addition to the polarity control), set it at “0”.

1. Phase controls on subwoofers apply "delay" at one frequency rather than the needed group delay that is frequency-independent. So, it is best to just leave them at “0”.

F. If the sub has an EQ system, you can use it to tame large peaks (see item 1 below) before calibrating with Audyssey, but this is generally not recommended. Most of these EQ systems only allow one measurement position, and therefore only correct the amplitude (volume) for one seating position. Audyssey adds the benefit of measuring in the time domain for multiple seating positions to create an acoustic bubble.

1. Per the chart below, Audyssey has increased the filter correction over time, resulting in decreasing benefits for separate subwoofer equalization solutions.

MultEQ Resolution Comparison Chart
Filter Resolution Factor
Number of filters by multiplication comparison (satellites)
Number of filters by multiplication comparison (subwoofer)

2. As noted above, MultEQ XT32 (found in some Audio/Video Receivers) increased the subwoofer channel filter resolution by a factor of four over Audyssey MultEQ and MultEQ XT. The stand-alone SVS AS-EQ1 and Audyssey Sub Equalizer products (introduced in 2009; no longer manufactured) also had 512x subwoofer channel resolution.
a. Increases in filter resolution allow for correction of narrower peaks and valleys in the frequency response, which is extremely beneficial to the problematic lower frequencies in most rooms.

G. Calibrate the subwoofer volume

1. Some products equipped with Audyssey MultEQ XT32 have automated the subwoofer volume calibration process, making steps 2 – 8 below unnecessary. If you own one of these models, proceed to section III.

2. Set the volume control on the subwoofer at the middle (i.e. 12 o’clock) of the adjustment range allowed.
a. Please note this “starting point” may not work with all subwoofers.

3. Place the microphone at the first measurement position (see guidance in section V.) and proceed with the calibration process for the first measurement—until all speakers have been measured once.

4. After the first measurement process is complete, select "Calculate", then go to "Check Parameters".
a. Audyssey will calculate the speaker distances and trim level settings from this first measurement.
b. Each manufacturer has a slightly different interface, so the terminology may not exactly match.

5. Check the subwoofer trim level setting in the receiver / processor menu.
a. If the subwoofers’ trim level is at the maximum limit of the cut (-) or boost (+) adjustment range allowed, you need to adjust the volume control on the subwoofer and repeat step #2. Specific instructions will follow.
b. Trim adjustments are a tool used to achieve the goal of producing the same Sound Pressure Level (SPL) from each speaker / subwoofer in the system.
c. For example, Denon receivers have a trim adjustment range from -12dB to +12dB.

6. If the subwoofer trim level is at the maximum boost (e.g. +12db), turn up the volume control on the subwoofer slightly and repeat step #2.

7. If the subwoofer trim level is at the maximum cut (e.g. -12db), turn down the volume control on the subwoofer slightly and repeat step #2.

8. A suggestion for tweakers is to adjust the sub volume such that the resulting subwoofer trim is in the range of ±3 dB.
a. This is only a suggestion for the tweaker who likes to play around.
b. Audyssey’s position is to perform steps 4 to 6 above.

  • Note: This process is for checking the subwoofer trim levels only. After you have completed the subwoofer setup, be sure to start the measurement process over, following the guidance in section V to use the maximum number of microphonemeasurement positions available.

III. Dual mono (LFE) Subwoofer Setup

MultEQ XT32 has an optional feature known as Audyssey Sub EQ HT, which allows calibration of dual subwoofers. Sub EQ HT measures each subwoofer separately, and applies delay and level settings so both subwoofers are time and level aligned. The combined response of both subwoofers is then measured to derive the room correction filter. Sub EQ HT includes a semi-automated dual subwoofer volume calibration process—prior to starting the calibration measurements—which allows you to level-match the individual and combined subwoofer levels.

After conclusion of the semi-automated level adjustment process, the calibration measurements begin. MultEQ XT32 with Sub EQ HT measures the dual subwoofers as follows: At the first microphone position, the individual response of both subwoofers (Sub1 and Sub2) is measured as well as the combined response of both subwoofers (Sub1 + Sub2). During measurement at the remaining microphone positions, only the combined response of both subwoofers (Sub1 + Sub2) is measured. The combined response of both subwoofers is used when creating the equalization filters.

If you have a receiver / processor equipped with MultEQ XT32 and Sub EQ HT, you can skip to the next section. If you have a receiver / processor equipped with MultEQ or MultEQ XT, you can follow the below advice to aid in multiple subwoofer optimization.

A. Place the subwoofers symmetrically within the room, if at all possible.

B. Place the subwoofers at identical distances from the primary listening position, if at all possible.

1. When two subwoofers are driven as one unit, proper time alignment is critical.

2. The two subwoofers will not be properly time aligned unless they have the same physical distance from the primary listening position.

3. Adjusting the physical distance of the two subs effectively adjusts their time delay.

C. The above advice applies only to sealed rectangular rooms without any openings.

D. Follow the steps in subwoofer setup (section II.) for each subwoofer: Ensure the polarity settings are the same.

E. As an alternative to locating the subs at equal distances from the main listening position, you may insert an electronic device between the receiver / processor and the nearest subwoofer.

1. This device should introduce a time delay such that its output sound reaches the main listening position at the same time as the farthest subwoofer.

F. Attempt to match the output level of both subwoofers.

1. Use the receiver / processor internal LFE test tone while adjusting the volume control on the subwoofer to perform the following:

2. Turn one subwoofer on, and adjust the output level to 80 dB using a SPL meter.
a. Ensure the SPL meter is located where the first Audyssey measurement position will be taken (see section V.), and is set to “C” and “Slow”.
b. If you do not have a SPL meter, adjust the level by ear.

3. Turn off the first subwoofer, turn on the second subwoofer, and repeat the procedure.

4. Turn on both subwoofers and calibrate with Audyssey.

G. Another option for adjusting the output of multiple subwoofers is to use a procedure called “gain matching”. Gain Matching is discussed in this thread:

IV. Microphone Setup

A. Use the microphone that came with the unit, or one with the same model number.

1. Use of a microphone from another make or model will cause incorrect frequency response measurements because of different internal calibration.

B. Mount the microphone on a boom arm microphone stand with an adapter or a camera tripod.

1. While more expensive, the floor-standing boom arm microphone stand allows more precise microphone placement and the possible reduction or elimination of mechanical vibrations, which can affect low-frequency measurements. The boom arm microphone stand rests on the floor, while a camera tripod typically rests on the seat(s).

a. Search the web for “On Stage CM-01” to see one microphone stand adapter.
1. This unit has a limited range of movement, but is affordable.
b. Search the web for “Audio-Technica AT8459” to see another microphone stand swivel-mount clamp adapter with a greater range of adjustment.
1. Use of this unit also requires the use of a separate adapter such as a “Delvcam DELV-TA3”.

2. If possible, place the microphone stand behind the seat with the boom arm extending forward so there will be no obstructions between the microphone and the speakers.

a. The microphone stand and boom arm cause reflections at high frequencies, so it is best to keep it out of the way; at least for the front speaker measurements.

C. Point the microphone at the ceiling.

D. Place the microphone at ear height when seated.

1. During the measurement process, do not vary the height of the microphone more than a few inches relative to the first measured position.

2. If you have large dipole line-source speakers (Soundlabs, Innersound/Sanders, Magnepan, Martin Logan, etc.), or unusually tall speakers, please visit AVS member JonFo’s addendum on Audyssey setup and measurements for large dipole speakers, located here:

E. If the seat back is higher than ear height, ensure the microphone is raised above the seat back.

1. Positioning the microphone above the seat back will eliminate additional reflections.

2. For recliner chairs, you can recline the seat (lower the back) to minimize the reflections.

V. Microphone Placement (Measurement Positions)

  • Use the maximum amount of measurement positions allowed by the Audyssey version: 2EQ (3), MultEQ (6), MultEQ XT (8), MultEQ XT 32 (8).

  • Avoid taking measurements too far off to the side (near room boundaries) and / or outside the front Left and Right loudspeakers (off-axis), even if seats are located there.

    • Frequency response in these locations will exhibit reduced high frequencies.

    • Audyssey would adjust the room correction filters according to this measured response, resulting in unnecessary compensation.

  • Avoid taking measurements too close to the back wall, even if the only seating is located there.

    • Move the microphone at least 1 foot (30 cm) from the back wall before measuring.

  • Measure behind the main seating area—at ear height, obviously—if you can.

    • If the main seating area is out in the room, and you can measure behind it while keeping the microphone at least 1 foot (30 cm) from the back wall, you should do it. The idea is to "surround" the seating area with measurements.

  • For the first measurement, place the microphone at ear height in the primary seat / Main Listening Position (MLP), where the listener’s head would be positioned.

    • Audyssey uses the first measurement position to calculate the speaker / subwoofer level and time delay (aka distance) settings, so the microphone should be placed in the primary seating position.

    • Distance measurements are really time measurements that ensure temporal coherence. It is a critical part of calibration because—without it—you have frequencies arriving at different times: This is called non-constantgroup delay, and is a form of distortion. The distances are calculated so the sounds from all speakers and subwoofers arrive at the first measurement position at the same time.

  • Most seating configurations can utilize the following microphone placement methodology:

    • The first microphone position (#1) should be at the Main Listening Position (MLP) at approximately ear height, as this measurement is used to set the levels and distances for the speakers. Ideally, the MLP will be on the center line of the center channel speaker, and halfway in between the left and right front speakers, as noted in the diagram. If you do not have a seat in this general location, visit the thread for position #1 placement assistance.

    • For the remainder of the measurements, use the approximate pattern in the below diagram to surround position #1, while ensuring you follow the guidance above.

    • After the first measurement, the order in which you make the subsequent measurements does not matter: The diagram below only serves to ensure each location is measured.

    • The distance between the measurement positions is variable; no measurements required.

    • In general, Audyssey does not recommend putting the microphone in "every seat", except (possibly) in a dedicated theater with rows. In typical living rooms, some seats are positioned either off-axis, too close to a room boundary, or both.

    • Feel free to experiment with other microphone placement patterns. Just ensure you follow the guidance in sections IV and V. The basic goal is to surround measurement position #1 with the maximum number of microphone measurements allowed by the particular Audyssey version used to create an acoustic bubble.

    • If you have additional microphone placement questions, visit the Official Audyssey thread on AVS Forum; please see the link at the beginning of this document.
[IMG]file:///C:\Users\BIGSKI~1\AppData\Local\Temp\msohtmlclip1\ 01\clip_image002.gif[/IMG]
The red dots (numbers 1 – 3) represent microphone placement if you only take 3 measurements (2EQ), and numbers 1-6 (MultEQ).

The green dots (numbers 7 – 8) represent two additional microphone placements when you take 8 measurements (MultEQ XT and MultEQ XT32).

The blue dots (numbers 9 – 12) represent four additional microphone placements when you take 12 measurements (MultEQ Pro). Note that MultEQ Pro can utilize up to 32 measurement positions.

If the seating area is close to—or touching—the rear wall, and would not allow you to keep the microphone at least 1 foot (30 cm) from rear wall, you may need to relocate measurements 7 & 8 forward of measurements 1 – 3. Specifically, measurement 7 could be located at the diagonal intersection of the square formed by measurements 1,3,4, and 5. Measurement 8 could be located at the diagonal intersection of the square formed by measurements 1,2,5, and 6.

VI. During Calibration

  • Be prepared for the “chirp” measurements (at 75db), as they are quite loud, and can startle you.

  • Do not make any noise during the “chirp” measurements.

1. Audyssey measures for a few milliseconds (ms) after each “chirp” is finished, but then has to wait for the DSP to calculate, so the microphone is not active until a few ms before the next set of chirps.
2. If the ambient noise level in the room interferes with the accurate measurement, the level of the chirps will successively increase to compensate. If the level of the chirps cannot be increased enough to compensate, a “Caution” error will be displayed.

  • Do not stand in between the speaker and the microphone or anywhere that the sound is either reflected off of—or absorbed by—your body.

1. The natural room acoustics must not be substantially affected.

  • If a phase warning is shown, check the speaker wiring to ensure it is correct, and press “Skip” to continue the calibration.

VII. After Calibration

  • Options for adjusting the speaker crossover frequency setting.

1. It is not recommended to lower the set crossover frequency. Audyssey applies filters down to the speakers’ measured anechoic F3 point (below which roll-off exceeds -3 dB). Audyssey reports the F3 point to the Audio/Video Receiver, and it determines where to set the crossover frequency. Lowering the crossover could create a "hole" in the speakers’ correction, with potentially bad sonic results.

2. Raising the set crossover frequency is acceptable, and does not affect the Audyssey filters. Here are the reasons to consider raising of the crossover frequency:
a. Audyssey MultEQ and MultEQ XT have higher (8x) subwoofer channel filter resolution than the satellite channels. Raising the crossover frequency allows the subwoofer channel to apply its higher resolution filters for improved correction.
b. Raising the crossover frequency re-directs the (difficult) task of reproducing low frequencies from the Audio/Video Receiver and the satellite speakers to the subwoofer and its purpose-built amplifier(s). This will provide the main amplifiers with increased headroom.
c. Although MultEQ XT32 has the same filter resolution (512x) in both the subwoofer and satellite channels, it is still recommended to raise the crossovers for the reasons noted above.

3. Audyssey recommends that all speakers be set to “Small” (i.e. not Full Band) by selecting a crossover frequency.
a. Setting the speakers to “Small” with a 60 Hz – 80 Hz crossover is a good starting point, assuming the post-calibration crossover setting is 60 Hz or lower.

4. For additional details about the crossover selection process, see “Note 1” below.

  • Raise the low-pass filter (LPF) setting—usually incorrectly identified as a crossover—of the LFE subwoofer in the receiver / processor to 120Hz, if allowed. If the manufacturer’s default setting for the “LPF of LFE” is not 120 Hz, raising it allows the full LFE content to pass to the subwoofer.

  • If the speaker distance settings (not the subwoofer) were not measured accurately, and are markedly different from what you get with a tape measure, start over.

1. Incorrect distance measurements for the satellite speakers indicate a procedural error, and the associated EQ results are likely to be poor.

a. If the recommendations in sections IV and V were followed, you may need to change some physical aspect of the measurement setup.

  • Do not change the distance setting of the subwoofer, unless you have read and completely understood this section: The subwoofer / satellite speaker time alignment blend is based on this setting.

    • Inaccurate subwoofer distance measurements usually occur when a subwoofer’s Low-Pass Filter (LPF) is active, or when using subwoofer equalization systems.

a. The LPF—by nature of its design—introduces additional delay to the signal.
b. Audyssey measures this signal delay and increases the subwoofer distance setting to compensate for it.

    • If the distance measured by Audyssey is greater than the physical distance, there is a signal delay between the generated “pulse” and the arrival of the resultant response at the microphone. This is a common anomaly due to circuitry (e.g. LPF, EQ) in subwoofers.

    • If the distance measured by Audyssey is less than the physical distance, here are some possible causes:

a. Holding the microphone in your hand.
b. Use of a subwoofer with a two-driver push-pull configuration. This is an unexplained phenomenon which has been noted by Audyssey.
c. Tactile transducers (e.g. Crowson, Buttkicker, etc.) left on when measuring.
d. Acoustical low-frequency noise in the room (e.g. projector fan, cable hum).
e. Electrical noise coming from another system component. The most common offender is the cable or other set-top box (STB). In several cases, disconnecting the STB from the system solved the problem.
f. The power supply of a computer connected to the same electrical circuit.
g. If none of the above situations apply to your problem, see “Note 2” below.
h. If you are certain the above scenarios (a. – g.) do not apply to your situation, then you can manually set the distance of the subwoofer in the AVR to the actual physical distance. Ensure you measure from the center of the subwoofer driver to the height of the microphone tip. If you would like to ensure this is the correct action to take, visit the Official Audyssey thread on AVS Forum for a thorough dissection of your problem; please see the link at the beginning of this document.

    • For enthusiasts that own equipment and software for measuring room acoustics, there is another adjustment technique to maximize subwoofer output. AVS members craig john and Mark Seaton have shown the validity of adjusting the subwoofer distance setting—post-calibration—has resulted in measurable improvement in the subwoofer/satellite blend at the crossover frequency. This technique typically requires the use of calibrated microphone (not the Audyssey unit) and measuring software, such as Omnimic, XTZ Room Analyzer, REW, etc.. For more information, see the separate Word document filled with the relevant posts and measurement graphs.

  • Disable any Night Modes, Dynamic Range Compression (DRC), and Dynamic Compression (D. Comp) in the receiver / processor as well as the DVD / BD player.

    • If these features are not disabled, they could possibly cause adverse interaction with Dynamic EQ and Dynamic Volume.

    • You may need to temporarily turn off Audyssey to access these parameters in your receiver / processor.

    • You may also need to select a specific soundtrack type or listening mode before a given parameter will appear in the menu for adjustment; check the manual to be certain.

  • If your receiver / processor has the THX Loudness Plus feature, turn it off if you plan to use Dynamic Volume.

  • Select one of the Audyssey target curves. Note that in some receivers / processors, the target curve selection is automatic as explained in #3 below.

1. MultEQ creates filters that correct the frequency response of your speakers to a specific target curve. These target curves are called: (“Audyssey” or “Audyssey Reference”) and (“Audyssey Flat”).
a. The “Audyssey” or “Audyssey Reference” target curve is designed to translate film mixing room conditions to the home listening room. This curve is flat to 4 kHz, has a slight roll-off from 4kHz - 10 kHz (-2dB @ 10 kHz), and another additional roll-off from 10 kHz - 20 kHz (-6dB @ 20 kHz). This curve should be used for listening to movies in most cases.
i. In a typical living room, the acoustical conditions require a flat curve up to a certain frequency, and then a roll-off. This roll-off allows the proper balancing of the direct and reverberant sound at high frequencies.
b. The “Audyssey Flat” target curve has no roll-off. This curve should be used for movies if you are seated in the near field, if your room has a lot of high frequency absorption due to acoustic treatments, or if you are using THX Re-EQ.
c. Audyssey research has found that listeners in most home environments are seated in the reverberant field. The mixing of most films (in post-production studios) is completed with the recording engineer seated in the near field. As a result, it is usually beneficial to use a high frequency roll-off (Audyssey or Audyssey Reference curve) to tame brightness. However, if you have an acoustically treated room and / or are seated relatively close to the front speakers, you may be located in the near field. Therefore, it may prove beneficial to try listening without a roll-off (Audyssey Flat curve) to see if there is an improvement in sound quality.

2. Re-Equalization technologies affect the target curve selection.
a. One component of THX is called Re-EQ, which applies a high frequency shelf cut filter. When listening in THX mode with Re-EQ on, it is recommended to use the “Audyssey Flat” target curve.
b. Some manufacturers have developed proprietary high frequency roll-off filters with various trade names; Denon’s “Cinema EQ”, for example. It is recommended to disable (turn off) such roll-off features so the “Audyssey” or “Audyssey Reference” target curve can operate properly.

3. The selection of Audyssey target curves is performed manually in some products (e.g. Denon, NAD, Marantz) and automatically in others (e.g., Onkyo).
a. For products with manual selection follow the guidelines above.
b. For products with automatic selection, the following rules apply:
i. The “Audyssey” or “Audyssey Reference” target curve is selected after calibration.
ii. The “Audyssey Flat” target curve is selected automatically when you switch to a THX or Music listening mode.

4. Note: Music content is not produced with the same standards as film, so, it is difficult to predict which target curve to use. Audyssey recommends starting with the "Audyssey" or “Audyssey Reference” curve. In some cases, the "Audyssey Flat" curve might be preferable for music.

  • If desired, trim level adjustments can be made in the receiver / processor to boost subwoofer levels for those who prefer more bass output. See “Note 3” and “Note 4” below.

1. Audyssey will NOT monitor these changes, so Audyssey DSX, Audyssey LFC, Dynamic EQ, and Dynamic Volume may not work as designed. Audyssey has the capability to monitor these changes, but product manufacturers have not implemented this feature.

Note 1 – Crossover Settings
Audyssey MultEQ measures in-room response of each speaker, determining the lowest the frequency they can reasonably produce. This is known as the -3dB frequency point, or F3. The -3dB frequency point is used by the receiver / processor to calculate the speaker settings (Large / Small) and set the crossover points, if applicable. The bass management system in the receiver / processor then performs the high and low pass filtering centered at the crossover frequency. The important point is that Audyssey does not set the crossovers. Unfortunately, current receiver / processor models do not display or report the -3dB frequency point measured for each speaker. The only information available is whether or not the speaker was designated “Large” or “Small”, and any crossover point selected.

Receiver / processor manufacturers use a specific Frequency Decision Point (FDP) to classify speakers as “Large” (full-range) or “Small” (less than full-range). The selection of the FDP varies among manufacturers and models, but 40 Hz is becoming the standard. If the -3 dB frequency measured by Audyssey is below the FDP, the speaker is classified as “Large’. If the -3 dB frequency measured by Audyssey is above the FDP, the speaker is classified as “Small”, and a crossover frequency is selected.

Each receiver / processor has various crossover points from which to choose. Typically, the first crossover setting above the -3 dB point measured by Audyssey is chosen. For example: If your receiver has crossover settings of 40, 60, 80, 100 and 120 Hz, and the speaker is set to “Small” with an 80 Hz crossover, that is an indication the - 3dB point is somewhere between 60 and 80 Hz. Crossover selections in increments of 10 Hz are becoming more common, which allows greater flexibility.

Note 2 – Issues which may affect subwoofer distance measurements
After having followed the guidance in section IV and section VII, D., some users still have subwoofer distance measurements that are less than the physical distance. The theory is that mechanical coupling between the camera tripod or microphone stand and some vibrating surface is causing low-frequency vibrations to be transmitted through the flooring and/or seating to the microphone. These vibrations are interpreted as having arrived before the actual sound waves, perhaps because they travel faster through the flooring and/or seating faster than the sound waves travel through the air. The rubber pads on most stands are usually good enough to prevent this, but if any part of the camera tripod, microphone stand, or boom arm is touching a vibrating surface you could have coupling that is picked up by the microphone.

The result is that the subwoofer distance is calculated as too short. Also, the correction Audyssey applies may not be optimal, as this anomaly could fool Audyssey into thinking the subwoofer extends lower than it actually does. Taught leather couches—prevalent in home theaters—are one probable cause, but it may depend on the structural properties of the various materials. Put your research grant applications in now! In all seriousness, the solution to this theoretical problem is to use a microphone stand with a boom arm positioned so that it rests on the floor and does not touch the seat or any other resonant surface. This solution has corrected the anomaly for some users.

Note 3 – Trim Level Settings
Before adjusting the trim settings, please understand that producing a calibrated setting other than 75 dB Sound Pressure Level (SPL) results in reference level being achieved with the master volume set to something other than “0”. Further, Audyssey microphones are specified with a ± 2 dB maximum sensitivity tolerance. So, in the worst-case scenario, the Audyssey microphone would be 2 dB “off”, which is more accurate than most popular consumer-level SPL meters. Consumer-level SPL meters are usually very inaccurate when measuring subwoofers. You have been warned.

Note 4 – Reference Versus Preference
A common misunderstanding about Audyssey stems from differences between reference and preference. It is really important to understand the basic goal of the Audyssey technology: To solve room acoustics problems and the sound degradations they cause. The goal of Audyssey is not to shape the sound to your preference, but rather to shape the sound to reference.

Audyssey measures your room and corrects the acoustical problems based on those measurements. The reference point for this acoustical correction is based upon the only known standard: The mixing room calibration curve used in all film production, and some—but not all—music production.

Assuming there are no problems during the calibration process, what you end up with is a reference calibration. If you have some personal sound preferences, these are outside of what Audyssey is responsible for. Some people want more bass, while others complain there is too much bass. Some people want flat high frequencies, while others do not. These variances represent the difference between reference and preference. However, if you do not like the results, please post your questions on the thread for "interactive" assistance. Some users with large rooms (>2,500 cubic feet) or those open to other areas have experienced problems with calibration.
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post #4325 of 4328 Old 01-04-2015, 11:22 AM
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Originally Posted by Diamond Dog View Post
I read that and I think if you use Audessy, it sets all of that for you and you can not manually set it. You can only manually set it if you do not use Audessy (and you can not raise crossover levels after the your run and save Audessy)

I guess I got confused by reading this Audessy setup guide posted on AVS. It seems to not be written for any specific model so a lot of the things he mentions to adjust are not applicable?

Audyssey Setup Guide
That version of the guide is long out of date. (Its author no longer posts to AVS. ) Please refer to the current one, which is available in the Audyssey thread at Audyssey 101/FAQ

The only change which invalidates a previous Audyssey calibration is to add speakers. Other speaker-related changes (like crossover frequencies, trim levels, speaker distances and speaker sizes) do not affect Audyssey's calibration at all.


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post #4326 of 4328 Old 01-05-2015, 07:14 PM
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I'll be packing up and sending in my 80.3 to Integra for some repairs. Is there any way for me to backup all of my settings onto a USB stick? I'm fearful that they might be lost or corrupted while in for repair.


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post #4327 of 4328 Old 01-10-2015, 02:33 PM
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Originally Posted by Ron Tobin View Post
I'll be packing up and sending in my 80.3 to Integra for some repairs. Is there any way for me to backup all of my settings onto a USB stick? I'm fearful that they might be lost or corrupted while in for repair.

Installers / Resellers have access to a windows application that can save and restore the settings in a pc file.
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post #4328 of 4328 Old 01-12-2015, 08:33 AM
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Anyone using the phono input? My understanding is it is for moving magnet carts only. I have a Moving coil high end cart and i'm looking to get rid of my analog front end that has a MC phono stage in it. I would need to get a phono pre amp and just wondered if any of you vinyl guys have used the phono input and what did you think?
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Onkyo Integra

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