Simplified REW Setup and Use (USB Mic & HDMI Connection) Including Measurement Techniques and How To Interpret Graphs - Page 115 - AVS Forum
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post #3421 of 11647 Old 06-10-2013, 11:21 AM
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Originally Posted by AustinJerry View Post

Keith, I especially like the technical approach presented in the third posting:  "...with a smaller space it would be easier to damp the crap out of it..."

 

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LOL. Yes, I rather liked that one as well. I am still looking for the crap-damping filter in REW ;)



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post #3422 of 11647 Old 06-10-2013, 11:32 AM
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I do not think, by any stretch of the imagination, that I have achieved a 'perfect' NE room. In fact I know I have not. But I have limitations on what I can achieve, as do most of us, and I am so far pleased with what I have. I will continue to try to make improvements where I can, over time and am indeed experimenting with different speaker/sub placements soon (thanks Sanjay for all your help).

 

Keith, have you started experimenting with the Behringer yet?  Just curious if it is as easy and worthwhile to implement as you had envisioned?

 

I did but I have been sidetracked recently by a) wanting to watch some movies to cut down my backlog, b) more recently, spending a lot of time researching how to install my new projector and screen (!!) and c) carrying out some experiments this week, following advice by placement-Meister Sanjay, with moving my speakers a little and my subs (a fair bit). 

 

What I discovered with REW/Behringer to date is that yes, it is easy. Just play with the filter creation in REW and upload via a permanently connected midi interface to the Behringer. Very easy. Then use REW to measure the effect of the new filters. That is where I stopped for now. It will take some trial and error but I have to say that even on my first go, I managed to flatten the bass curve a little around the splice - but not so much that it was audible on listening tests. As the Behringer has a defeat switch it was easy to get my lovely assistant to switch the thing in and out, and since the Behringer is in a different room I could even do a blind AB test. This may prove useful later when I return to PEQ with more vigour. I will return to it, but for now I shall be concentrating first on moving the speakers/subs, measuring and then re-running Audyssey and measuring again (and re-doing the sub distance tweak too assuming the new speaker/sun placements are beneficial). Once that is done, I have to instal the PJ and then calibrate it etc etc. Much to do over the next two weeks, or 'fortnight' as we Limeys call it :)



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post #3423 of 11647 Old 06-10-2013, 11:34 AM
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I think adding several sections to the guide would be useful, one documenting the how to effectively use band-filtering with ETC, and one describing the blocking method of narrowing down sources of reflection. They are on my list.

 

 

+1 to all that.


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post #3424 of 11647 Old 06-10-2013, 11:53 AM
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General question here. Seems obvious but... The more speakers you have, the harder it is to tame reflections? Example. I currently have a Denon 3313 with 7.1 setup. I have a buyer for my 3313(XT 32 upgrade) and need to come to a decision on either the Denon 4520 (11 channels max processing) or the Denon X4000 (9 channels max processing). Both have XT 32 and Neo X. Obviously the X4000 is less money.

So my question lies with the placement of wide speakers in an 11 channel setup. IT SEEMS PLACEMENT OF THESE SPEAKERS(60 degrees if I remember right) WOULD DISTURB THE PLACEMENT OF FIRST REFLECTION POINTS. I guess wall mounted bookshelves could be placed. Or perhaps heights instead.

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post #3425 of 11647 Old 06-10-2013, 12:04 PM
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Originally Posted by jlpowell84 View Post

General question here. Seems obvious but... The more speakers you have, the harder it is to tame reflections? Example. I currently have a Denon 3313 with 7.1 setup. I have a buyer for my 3313(XT 32 upgrade) and need to come to a decision on either the Denon 4520 (11 channels max processing) or the Denon X4000 (9 channels max processing). Both have XT 32 and Neo X. Obviously the X4000 is less money.

So my question lies with the placement of wide speakers in an 11 channel setup. IT SEEMS PLACEMENT OF THESE SPEAKERS(60 degrees if I remember right) WOULD DISTURB THE PLACEMENT OF FIRST REFLECTION POINTS. I guess wall mounted bookshelves could be placed. Or perhaps heights instead.

First things first.

The rooms models we have been focusing on here lately in this thread were for the most part developed and researched for mix rooms/studios. Now, they can be adapted to 2 channel home listening environments pretty readily.

X.1 surround systems for movies are completely outside of the aforementioned discussion. The only crossover would be when your using your X.1 system for 2 channel audio playback.

So the answer to your question totally depends on whether you want 2 channel audio optimization which may or may not be best for X.1.


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post #3426 of 11647 Old 06-10-2013, 12:15 PM
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Originally Posted by jlpowell84 View Post

General question here. Seems obvious but... The more speakers you have, the harder it is to tame reflections?

it's not harder to tame reflections per se', but the indirect consequences of "taming" them. eg, having more sources/boundaries incident of high-gain destructive reflections means more treatment to the surfaces that must be applied (same as with multiple seating rows vs a single listening position).

if you utilize absorption, you can quickly create a highly damped room due to all of the indirect signals that must be attenuated for all of the sources. the first-order signals are attenuated (absorbed) but you are now also absorbing later arriving (multi-order) reflections - which quickly kills the decay time.

and this is why in home theater environment, binary amplitude diffusers (BAD) are utilized. they offer LF-mid absorption and mid-HF spatial dispersion (diffusion). so you do not overly attenuate the signals but instead provide a diffused and lower-gain return. just as a lamp shade evenly disperses the light albeit at lower levels of intensity. the added benefit to these is you do not have the strict minimum seating distance criteria as you have with reflection phase gratings (QRD/PRD) - as real estate is likely already a concern in most home theaters. dennis erkshine uses these (RPG BAD equivalent by qwest(? i believe?)) in his home theater designs (eg, on the sidewalls).

if you look at the Ambechoic model of Blackbird C (primarily surround sound model), it addresses this myriad of "reflection points" from surround sound sources with broadband (PRD) diffusers. it is an incredibly reflection-rich environment, but the reflections are low enough in gain not to be destructive to intelligibility, localization, and imaging. and since the entire room is constructed with these broadband diffusers, you have a very even response throughout the room (multiple source-receiver positions). but physics is physics and for the diffusers to be effective to such low frequencies, they need to be physically large and deep in order to be effective. clearly a constraint in home residential rooms.

and as jim stated above, the context is 2ch vs surround-sound. LEDE/RFZ is a 2ch model which provides passive envelopment via the later-arriving, laterally-arriving diffused sound-field ... and surround-sound simply utilizes active sources. so it's a bit of a "hybrid" approach when the room is dual purpose.
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post #3427 of 11647 Old 06-10-2013, 12:15 PM
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Originally Posted by jim19611961 View Post

First things first.

The rooms models we have been focusing on here lately in this thread were for the most part developed and researched for mix rooms/studios. Now, they can be adapted to 2 channel home listening environments pretty readily.

X.1 surround systems for movies are completely outside of the aforementioned discussion. The only crossover would be when your using your X.1 system for 2 channel audio playback.

So the answer to your question totally depends on whether you want 2 channel audio optimization which may or may not be best for X.1.

Right, I see. Honestly my long term goal is simply a vision in my own mind at this point. But I can say it will be a dedicated theater type room in which lots of music listening will take place. I understand it all can't be perfect though. smile.gif

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post #3428 of 11647 Old 06-10-2013, 12:31 PM
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I did but I have been sidetracked recently by a) wanting to watch some movies to cut down my backlog, b) more recently, spending a lot of time researching how to install my new projector and screen (!!) and c) carrying out some experiments this week, following advice by placement-Meister Sanjay, with moving my speakers a little and my subs (a fair bit). 

 

What I discovered with REW/Behringer to date is that yes, it is easy. Just play with the filter creation in REW and upload via a permanently connected midi interface to the Behringer. Very easy. Then use REW to measure the effect of the new filters. That is where I stopped for now. It will take some trial and error but I have to say that even on my first go, I managed to flatten the bass curve a little around the splice - but not so much that it was audible on listening tests. As the Behringer has a defeat switch it was easy to get my lovely assistant to switch the thing in and out, and since the Behringer is in a different room I could even do a blind AB test. This may prove useful later when I return to PEQ with more vigour. I will return to it, but for now I shall be concentrating first on moving the speakers/subs, measuring and then re-running Audyssey and measuring again (and re-doing the sub distance tweak too assuming the new speaker/sun placements are beneficial). Once that is done, I have to instal the PJ and then calibrate it etc etc. Much to do over the next two weeks, or 'fortnight' as we Limeys call it :)

 

Very interested to hear more about the screen/projector setup but realizing it is OT for this thread perhaps you can PM me some of the details?  As you know, I just went down this path myself not too long ago.  I'm also interested to see/hear more about "placement Meister" Sanjay's recommendations...that dude knows his placements as I can certainly attest! wink.gif

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post #3429 of 11647 Old 06-10-2013, 12:35 PM
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Quote:
Originally Posted by jim19611961 View Post

First things first.

The rooms models we have been focusing on here lately in this thread were for the most part developed and researched for mix rooms/studios. Now, they can be adapted to 2 channel home listening environments pretty readily.

X.1 surround systems for movies are completely outside of the aforementioned discussion. The only crossover would be when your using your X.1 system for 2 channel audio playback.

So the answer to your question totally depends on whether you want 2 channel audio optimization which may or may not be best for X.1.

Right, I see. Honestly my long term goal is simply a vision in my own mind at this point. But I can say it will be a dedicated theater type room in which lots of music listening will take place. I understand it all can't be perfect though. smile.gif

 

I think this is one of the real difficulties, and one of the reasons I perhaps find it easier to determine my preferred model. I use my room solely for multichannel movie sources which, I believe, makes my job significantly easier. When the aim is to get a room that is good for m/ch sources and also good for 2-ch sources, the task is made considerably more difficult.



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post #3430 of 11647 Old 06-10-2013, 12:43 PM
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I think this is one of the real difficulties, and one of the reasons I perhaps find it easier to determine my preferred model. I use my room solely for multichannel movie sources which, I believe, makes my job significantly easier. When the aim is to get a room that is good for m/ch sources and also good for 2-ch sources, the task is made considerably more difficult.

TBO I don't even listen to my music in 2 channel. I use PLIIX listening mode. Perhaps heresy to and older generation or different theory. But I prefer the ambient sound the surrounds give. Yes I have sampled both a lot. Perhaps with that info it's already decided?

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post #3431 of 11647 Old 06-10-2013, 12:47 PM
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I think I understand which settings to change but it seems a very useful bit of info regardless of what model you are chasing.  I also think it's worth trying to document Jim's methodology as he went about designing his space.  I found it particularly interesting that he started with a 10ms ISD gap and thought 14ms might be the best he could achieve and IIUIC he's now at 24ms!  Understanding the steps in between his trial and error approach might benefit others looking to do something similar (i.e. you and me!). 

Basically, I got to 24ms from 14ms by bouncing the sound twice rather than once in the room. The details are in the thread(s).

 

Yes, I do recall reading that the sound path to achieve your target termination was rather long and you had several concerns.  I then remember you switching panel types but I guess it was the trial and error part from going to 14ms to 24ms that had me intrigued.  I'm sorry if I missed it in the other threads (as there was a lot to digest) but I came away with the feeling that this part of the process was not as detailed as some of the other parts (e.g. experimentation with QRD's)?

 

Like I said, I'm sure I probably just missed it but I think it's of particular interest to those going down the LEDE/RFZ path to document some of your procedures (even if it just means cutting and pasting posts from the various other threads at GS?).  I'm not trying to be lazy as I've actually read through most of the threads you linked but I'm guessing there are others reading this thread (or searching for answers to similar questions) that would benefit from capturing any insights you gleaned from your journey?  Reading your posts from 2012, I can see that you had a good understanding of the principles but also struggled with how best to achieve your target results.  I think that's where a lot of us are in this thread and if I recall Jason's latest posts, we're basically at the point of developing a process to analyze a room and start employing various methods/techniques used today to achieve the desired results.  There was even a request to pick a model as an example so that we could take the next step in the journey.  In the interest of moving the thread along, I'd suggest we look at the LEDE/RFZ model as that seems to be a very popular model and several forum posters have already used (or are in the process of using) this model to treat their rooms.  With your recent experience and knowledge combined with the various other experts in the thread, this seems to me to be at least one way for us to get off dead center (i.e. pick a model status) and advance the thread to best practices used to achieve a given model?!  I'm certainly open to other ideas if there's an alternative to moving forward?

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post #3432 of 11647 Old 06-10-2013, 02:24 PM
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Yes, I do recall reading that the sound path to achieve your target termination was rather long and you had several concerns.  I then remember you switching panel types but I guess it was the trial and error part from going to 14ms to 24ms that had me intrigued.  I'm sorry if I missed it in the other threads (as there was a lot to digest) but I came away with the feeling that this part of the process was not as detailed as some of the other parts (e.g. experimentation with QRD's)?

Like I said, I'm sure I probably just missed it but I think it's of particular interest to those going down the LEDE/RFZ path to document some of your procedures (even if it just means cutting and pasting posts from the various other threads at GS?).  I'm not trying to be lazy as I've actually read through most of the threads you linked but I'm guessing there are others reading this thread (or searching for answers to similar questions) that would benefit from capturing any insights you gleaned from your journey?  Reading your posts from 2012, I can see that you had a good understanding of the principles but also struggled with how best to achieve your target results.  I think that's where a lot of us are in this thread and if I recall Jason's latest posts, we're basically at the point of developing a process to analyze a room and start employing various methods/techniques used today to achieve the desired results.  There was even a request to pick a model as an example so that we could take the next step in the journey.  In the interest of moving the thread along, I'd suggest we look at the LEDE/RFZ model as that seems to be a very popular model and several forum posters have already used (or are in the process of using) this model to treat their rooms.  With your recent experience and knowledge combined with the various other experts in the thread, this seems to me to be at least one way for us to get off dead center (i.e. pick a model status) and advance the thread to best practices used to achieve a given model?!  I'm certainly open to other ideas if there's an alternative to moving forward?

Im sure certain steps were documented better than others. Now that you have pointed to a specific part, ill try to put on the table what was on my mind.

I think whats paramount is looking at the criteria that is called for in a LEDE / RFZ model.

1) Isd gap
a) time = 20-30ms optimum, 12-15ms acceptable lower limit (size of perceived room compromised some with a shorter gap) (figures based on listening room criteria, not control room/mix room criteria)
b) energy = -20db minimum, -30db optimum
c) bandwidth = modal region - 20K ideally, 1K -20K workable when 500-1K -15db or better.

2) Termination
a) time = >20ms optimum
b) energy = -12db to -6db
i) Diffuse = ideal
ii) Embedded specular = controversial but acceptable to many
c) direction = ideally 110 degrees +/-5 degrees. Workable in the 100-135 degrees region
d) bandwidth = 1K - 8K or so

3) Exponential diffuse decay after termination, also referred to as Termination "tail". The shape and length of the tail are not well defined.

4) Contralateral vs ipsilateral WRT Termination and "tail" returns - I find Ipsilateral returns to have more realism and to be less psycho-acoustically confusing

Parts in italics are either sketchy or controversial data, or my own experiential findings.

Let me stop here, and see if all that are interested are on the same page about the criteria.

Local, correct me if I erred in any of this so the documentation is correct.


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post #3433 of 11647 Old 06-10-2013, 03:13 PM
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^^^^Good stuff! 1a-c and 2a and 2b I'm pretty clear on. The differences between 2b i and ii and all of 3 and 4 is where I'd (personally) like to see more detail. I don't even mind expanding on 1 for those that are not quite up to speed (i.e. these topics are not well defined in this thread).
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^^^^Good stuff! 1a-c and 2a and 2b I'm pretty clear on. The differences between 2b i and ii and all of 3 and 4 is where I'd (personally) like to see more detail. I don't even mind expanding on 1 for those that are not quite up to speed (i.e. these topics are not well defined in this thread).

Lets break this into small pieces

2)
i) Diffuse = ideal
ii) Embedded specular = controversial but acceptable to many


The preferred conception of the model calls for diffuse returns to terminate the ISD gap. What I mean by embedded specular returns is a flat reflection panel within a diffuse return in order to trigger the Haas effect, rather than diffuse returns only. Psycho-acoustic research has shown that one is preferred over the other. However, it has also been written that a embedded specular return is better than no termination at all, or a diffuse return that is too weak to trigger the Haas effect.


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post #3435 of 11647 Old 06-10-2013, 03:46 PM
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^^^^Good stuff! 1a-c and 2a and 2b I'm pretty clear on. The differences between 2b i and ii and all of 3 and 4 is where I'd (personally) like to see more detail. I don't even mind expanding on 1 for those that are not quite up to speed (i.e. these topics are not well defined in this thread).


3) Exponential diffuse decay after termination, also referred to as Termination "tail". The shape and length of the tail are not well defined.

I am afraid I havent anything else to add here. Ive yet to see any study that say what you should have at say 30ms, or 40ms, or 50ms, and so on. While the termination strength is well defined, the following energy doesnt seem to be.

4) Contralateral vs ipsilateral WRT Termination and "tail" returns - I find Ipsilateral returns to have more realism and to be less psycho-acoustically confusing

Ipsilateral = same side
Contralaterial = opposite side

This idea is a logical, but largely unstudied extension (as far as I know) of the return energy, that defines which speaker (L or R) is responsible for what lateral reflection returns your hearing (L or R). For instance, you could have the Left speaker causing the Right (contralateral) returns, or the Left (ipsilateral) returns (just to define the matter). Depending on the design, a good degree of crosslateral returns are possible also. On this matter, I have only my own experiences as a guide. Logically, when I thought about it, ipsilateral makes more sense when you think about it. If you were in a large hall with say an orchestra in front of you, you would hear the right section of the orchestra's energy off the right side of the hall before you hear it off of the left wall given its proximity, and visa versa. Realistically I suppose, you would hear the contralateral energy also, but later and at a diminished intensity.

So ipsilateral (same side) makes more sense to me when were talking about the first wave of delayed return energy. The later arriving and diminished contralateral energy will find its way around your room anyway, so I am not worried about it being in the main design plan. By the time you get out to beyond 50 or 100ms, it will all be pretty mixed together in any case.
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For those having trouble with the USB mic idle. This is what I did to fix it.
  1. Uninstalled ASIO, resinstalled.
  2. Then while the usb mic was plugged in, I went to the windows device manager.
  3. I uninstalled the mic including drivers.
  4. The computer rebooted, I unplugged the mic during this.
  5. After windows was logged in and idle, I plugged in the mic, it installed the drivers again and worked this time
.



BUT NOW THE DANG OUTPUT WENT AWAY UGHHH
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post #3437 of 11647 Old 06-11-2013, 12:45 AM
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Originally Posted by jim19611961 View Post

Psycho-acoustic research has shown that one is preferred over the other.

What research? The precedence effect is understood as supression of "echos" if the echo is sufficiently similar to the direct sound and arrives within a certain time. Precedence doesn't need a "terminating" reflection to work.
My opinion is that the LEDE "terminator" simply adds some spaciousness which 2-speaker stereo isn't capable of providing because all sounds eminate from only two locations at ±30°.

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post #3438 of 11647 Old 06-11-2013, 06:46 AM
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Originally Posted by markus767 View Post

What research? The precedence effect is understood as supression of "echos" if the echo is sufficiently similar to the direct sound and arrives within a certain time. Precedence doesn't need a "terminating" reflection to work.
My opinion is that the LEDE "terminator" simply adds some spaciousness which 2-speaker stereo isn't capable of providing because all sounds eminate from only two locations at ±30°.

I wasnt talking about the precedence effect. I was talking about a diffuse terminator vs a specular one.

Others believe the terminator does far more than add liveliness/spaciousness, although I agree it does that also. For one, its also responsible for helping to mask later arriving reflections and their room cues making the direct response cues easier to discern.

More about the terminator http://www.gearslutz.com/board/6344944-post63.html


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post #3439 of 11647 Old 06-11-2013, 07:01 AM
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Originally Posted by markus767 View Post

The precedence effect is understood as supression of "echos" if the echo is sufficiently similar to the direct sound and arrives within a certain time.

the haas corollary defines the suppression (fusing/averaging) of these indirect signals within the haas interval into a single auditory event - with locational cues from the first wavefront (precedence effect).

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Precedence doesn't need a "terminating" reflection to work.

i dont believe that was stated??
..yet an anechoic chamber (devoid of indirect reflections/sound-field) does not provide the best imaging (unless what's being listened to is also in an anechoic chamber).

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Originally Posted by markus767 View Post

My opinion is that the LEDE "terminator" simply adds some spaciousness which 2-speaker stereo isn't capable of providing because all sounds eminate from only two locations at ±30°.

it's a psycho-acoustic trigger to re-enforce the localization of the direct signal while removing the directional cues (masking) from the remainder of the returned energy - while allowing one to hear their level and tonal contributions.
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post #3440 of 11647 Old 06-11-2013, 07:33 AM
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Quote:
Originally Posted by jim19611961 View Post

I wasnt talking about the precedence effect. I was talking about a diffuse terminator vs a specular one.

Others believe the terminator does far more than add liveliness/spaciousness, although I agree it does that also. For one, its also responsible for helping to mask later arriving reflections and their room cues making the direct response cues easier to discern.

More about the terminator http://www.gearslutz.com/board/6344944-post63.html

Maybe, maybe not. I've asked about research not about opinion. I already have plenty of the latter smile.gif

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post #3441 of 11647 Old 06-11-2013, 07:48 AM
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..yet an anechoic chamber (devoid of indirect reflections/sound-field) does not provide the best imaging (unless what's being listened to is also in an anechoic chamber).

Define "imaging". Do you include ASW?
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it's a psycho-acoustic trigger to re-enforce the localization of the direct signal while removing the directional cues (masking) from the remainder of the returned energy - while allowing one to hear their level and tonal contributions.

As long as reflections are similar to the direct sound they will give rise to the precedence effect. So why is a terminating reflection needed?

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post #3442 of 11647 Old 06-11-2013, 09:06 AM
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Marcus,

Local,

Do you disagree with any of post 3432 not in italics? I want to establish the main points, then move on and conclude.


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post #3443 of 11647 Old 06-11-2013, 11:21 AM
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Not sure what you're asking. Disagree if this is a proper description of LEDE?

Markus

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post #3444 of 11647 Old 06-11-2013, 12:24 PM
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Originally Posted by markus767 View Post

Not sure what you're asking. Disagree if this is a proper description of LEDE?

Yes, basically.


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post #3445 of 11647 Old 06-11-2013, 12:41 PM
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I wouldn't object.

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post #3446 of 11647 Old 06-11-2013, 05:27 PM
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Hi Jerry,

Maybe it has been already answered, but why do we use ASIO?

I was able to get my MiniDSP mic to show up using java, and the output worked?

What are you you gaining by using ASIO vs. Java?

If it has already been answered just let me know and I'll start reading the 100 ish pages. .

Thanks buddy!
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post #3447 of 11647 Old 06-11-2013, 05:59 PM
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Originally Posted by kamiraa View Post

Hi Jerry,

Maybe it has been already answered, but why do we use ASIO?

I was able to get my MiniDSP mic to show up using java, and the output worked?

What are you you gaining by using ASIO vs. Java?

If it has already been answered just let me know and I'll start reading the 100 ish pages. .

Thanks buddy!

The answer to your question is in the thread title. AFAIK, ASIO is required for HDMI connections. Having said that, there is nothing wrong with using Java. It's configuration is described in the Guide.

Are you having an issue with ASIO? Are you using HDMI?

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post #3448 of 11647 Old 06-11-2013, 07:26 PM
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Originally Posted by AustinJerry View Post

The answer to your question is in the thread title. AFAIK, ASIO is required for HDMI connections. Having said that, there is nothing wrong with using Java. It's configuration is described in the Guide.

Are you having an issue with ASIO? Are you using HDMI?

Yes, I'm using HDMI as my output to my Denon AVR-4520ci or AVR-3313ci.

I'm using a minidsp that was cal'd by csl.

With ASIO I can either get the mic to go active (with the hdmi unplugged and inactive), when I plug the hdmi it goes active, but the mic goes in inactive.

The mic is working in both cases, I'm able to go into sound recorder per your guide and record my voice, play it back.

In the ASIO setup it sees both devices, just one or the other is inactive.

In JAVA mode both show up right away, output works, mic works. I just wasn't sure what the reason for the ASIO was? What is its advantage over JAVA? More channels? Less noise?
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post #3449 of 11647 Old 06-11-2013, 07:40 PM
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Originally Posted by kamiraa View Post

Yes, I'm using HDMI as my output to my Denon AVR-4520ci or AVR-3313ci.

I'm using a minidsp that was cal'd by csl.

With ASIO I can either get the mic to go active (with the hdmi unplugged and inactive), when I plug the hdmi it goes active, but the mic goes in inactive.

The mic is working in both cases, I'm able to go into sound recorder per your guide and record my voice, play it back.

In the ASIO setup it sees both devices, just one or the other is inactive.

In JAVA mode both show up right away, output works, mic works. I just wasn't sure what the reason for the ASIO was? What is its advantage over JAVA? More channels? Less noise?

With ASIO, you get 7.1 channel support, allowing you to independently select any of seven channels, plus the LFE channel. With Java, you only get 2-channel support. I personally don't think this is a big deal, but that is what the difference is.

A number of people have experienced problems with the ASIO-4All drivers, which are still a beta release.

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post #3450 of 11647 Old 06-11-2013, 09:37 PM
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Originally Posted by AustinJerry View Post

With ASIO, you get 7.1 channel support, allowing you to independently select any of seven channels, plus the LFE channel. With Java, you only get 2-channel support. I personally don't think this is a big deal, but that is what the difference is.

A number of people have experienced problems with the ASIO-4All drivers, which are still a beta release.

Ahh makes sense. . . dangit, I wanted to verify each channel separately. I guess I'll keep trying. If anyone comes up with a solution let us know.
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