Originally Posted by Selden Ball
My understanding is that most pro amps with RCA inputs have the same sensitivity as home entertainment amps. All amps are linear, so the Audyssey calibration works for amps with different sensitivities and gains. I think you might be confusing XLR signal levels with RCA. XLRs tend to provide twice the signal level since they usually have the same signal levels on both their + and - connections. The signals on the two connections are added together in most amp designs. The trim level of each speaker channel can be adjusted, as can the sensitivity of each of the receiver's inputs. It does, but it turns on only at a very high temperature, so it might just as well have no fan. Many people like to provide quiet external fans which keep the AVR at a much lower temperature. Most Pro amps do use XLR connections. RCA to XLR adapters are readily available. You don't have to make your own. You have to decide if you want to design your system for "most movies" or if you want it to work well for the most demanding ones, too.
If the ones with RCA just works, that would make things a lot easier when looking for what is out there. Then I can just filter by RCA. Unfortunately it does decrease the selection.
The fact that the output can be made to work with different gains/sensitivites only works if the one that I am about to use, falls within that reach. I would not be surpriced if a consumer level product don't deliver the same output voltage as required by pro equipment. But pre-outs don't use high current, so there is really no logical reason.
Do you by any chance know if the outputs of the 7010 can be made to work as RCA level outputs (I'm investigating how to connect some active speaker systems to pre-outs of a suround receiver to be combined with passive speakers driven by the receiver, I understand that it won't get volume control over the speakers. Such a set-up would require volume testing and using only pre defined volume settings on speakers in combination with the receiver to get a matching result).
Line signals in Pro equipment is usually delivered by TRS or XLR, I didn't say Pro equipment with RCA connectors. I made a difference between pro equipment and RCA. I never doubt that the tape connectors on my mixer or the RCA connectors on one of my synths work if I connect them to a RCA input.
I don't fully understand how line level works. I tried to google it, but never found an article for newbies.
From my understanding the fan in the 7010 is not the most quiet model at it's size. And it is quite small, and larger fans tend be more quiet as they can spin slower for the same airflow.
The question should probably be how soon it turns of, cause during high load, there is usually a lot of sound going on, drowning the fan noise. But there is usually dramatic changes in dynamics so loud scenes/music is often followed by quieter parts.
But what's even worse in my case is my Tivo box. It's never fully in stand-by as from times it stars running to do recordings or to check things up. And since you can have it record episodes of a series, or keep the look-out for certain things, or you want to take advantage of it's smart recording features, where it records show that it thinks you will like, you cant turn it of on the main switch either.
When looking on films using my projector, I have no doubt that the fan in the projector would be louder than in a marantz. When using my TV in combination with surround sound, I would not feel that bothered if the fan started, I would use the projector for watching things I'm really invested in.
But I have to admit I like playing music in surround, even if it's "wrong", when it's not a surround recording.
And during music sessions I would like the room to be as silent as possible.
I've flac'ed my music collection. I have a fanless Intel Atom media PC right now, and will build a fanless media PC as soon as intel Core's graphics in combination with the motherboard can handle the full UltraHD BluRay specifications. And that one would use SSD. And my music collection will sit on a NAS in another room.
So there wont be any spinnings discs, fans or HDD that I can hear while listening to music, If I just find solution to get my tivo out of the room.
I know there are RCA to XLR adapters. I actually have some, that I bought just in case.
But I dont fully understand, because pretty much everytime I see stuff about making your own adaptors, for stuff from the music industry, they seem to contain things like resistors and stuff like that. I have never studied electrics, so I don't understand the math they post. Or understand how sometimes a lead can be left going nowhere.
But that still depends on if the voltage is compatible, from the output. If it is, well then the whole pro market is open.
But already most pre designed systems are designed with more capable speakers at the front (sure there is a chance that the ones with equaly small speakers for each channel outsells other kind of systems, but looking on what's on offer, most have more capable speakers in the front).
So one could expect sound designers to understand that, and not put that much heavy sound in surround speakers. Designing with the LFE in mind, it should be possible to create sounds that sound convincing enough when moving from the front, without the audience need to be surrounded with speakers that are all good enough to be main speakers just for a few scenes in action heavy films.
With Atmos we have gotten a new channel naming convention, but perhaps we should have had a better one from the start.
2 (full range front speakers, that then also works for stereo music) .1 (center channel a capable speaker that should at least be able to hold its own to a cutoff at 80Hz) . 2/4 (non full range surround channels that rely on the LFE for the bottom end but then has a frequency gap, so the speakers could be designed cheaper and without the need to redirect the bass within frequencies that are actual directional to our hearing to the subwoofer) .1 (the subwoofer) or perhaps it should be .LFE or.1LFE since sound designers don't use more than one LFE, that way the new Atmos speakers could be added before the LFE channel in the naming without confusion, if you know that the LFE is at the end of it all.
There is not point of having too much happening with sound in the room, as you wont be able to see the things that are not on the screen. So all surround channels are actually just FX channels, and treating them as such would make sense.
At least until there are VR movies, but I doubt we will se that many films that allow the viewer to turn it's head at any given moment to investigate any enviromental or FX sound coming from surround speakers. And few prople would probably sit with VR glasses while listening to sound from speakers in the room.
I'm now going for a system that has pretty capable speakers in all positions.
But I'm just saying that they should have thought differently.
With smaller FX speakers, they could have sold systems with more speakers to more people. The speakers would have been more discrete, easier to place in the right position, and much easier to mount in the ceiling, if they didn't need special brackets or holder, but could just hang on a single screw.
And the smaller the speaker the easier to make them in to a design objects. Objects that could perhaps been the kind of thing people would accept in their homes.