The Audyssey Pro Installer Kit Thread (FAQ in post #1) - Page 116

Quote:

Originally Posted by pepar 

Interesting, Hugo. Is it their contention that clarity and the "position" in the overall mix is perceived differently for a person speaking in one's native language?

That is our context here, specifically with regards to Keith's target curve edits.

Jeff

As a graduate linguist I know what Hugo is referring to and agree with his premise - the 'rhythms' of language are acquired very early in life and stay with us, and this does have an inhibiting effect on learning new languages later in life. Indeed, whenever I go to visit Italy, for example, it takes me a day or so for my ear to 'tune in' to the natural rhythm of Italian and until it does so, I struggle to understand what is being said.  HST, the differences between American spoken English and British spoken English are much less pronounced, although on occasion I do struggle a little with some of the more 'unusual' American accents (by which I mean accents I don't usually hear much). I imagine it is the same for Americans if they listen to British accents from the North East or South West of England, or from Glasgow in Scotland. I know Americans who sometimes have to turn on the subtitles in order to be able to decipher some of these regional accents (and sometimes I struggle a little myself, especially with Glaswegian for example).

What I think all this boils down to is the importance of ensuring that the centre channel dialogue is as clear as it can be - and in this regard I have found, personally, that dampening reflections with room treatments (plus using Audyssey of course) has made the most significant improvement, once one assumes a decent centre channel speaker with proper placement, correct toe-up (!) etc. and a properly EQd system. 

While I do take your point, Jeff, that a system that is good for music will also be good for movies (which, logically, has to be the same as saying that a system that is good for movies will also be good for music), I do maintain that intelligibility of the human voice (dialogue) is paramount for movies and perhaps a little less so for music. HST, I agree that a system built around the twin premises of accuracy and transparency to the source will sound good on any content it is charged with reproducing and thus the entire discussion is probably pointless ;)  This is not, of course, to be conflated with saying that a system used primarily for movies needs to be designed with all of the same parameters in mind as for one that is primarily designed for music. For music, I do not need two subwoofers with virtually flat response into single figures and for movies I would be prepared to sacrifice, for example, and if I had to choose, some extreme top end for a little more clarity on dialogue reproduction. The huge 'distraction' of the visuals diminishes the need to be so absolutely critical of whether the massed violins in the score have all the openness and 'airiness' they can muster, for example - whereas if you didn't quite catch Morpheus saying that his belief system does not require that you believe the same as he does, well, you may have missed the entire point of the movie <LOL>.

Quote:

Originally Posted by pepar 

Quote:

Originally Posted by kbarnes701 


While I do take your point, Jeff, that a system that is good for music will also be good for movies (which, logically, has to be the same as saying that a system that is good for movies will also be good for music), I do maintain that intelligibility of the human voice (dialogue) is paramount for movies and perhaps a little less so for music. HST, I agree that a system built around the twin premises of accuracy and transparency to the source will sound good on any content it is charged with reproducing and thus the entire discussion is probably pointless  This is not, of course, to be conflated with saying that a system used primarily for movies needs to be designed with all of the same parameters in mind as for one that is primarily designed for music. For music, I do not need two subwoofers with virtually flat response into single figures and for movies I would be prepared to sacrifice, for example, and if I had to choose, some extreme top end for a little more clarity on dialogue reproduction. The huge 'distraction' of the visuals diminishes the need to be so absolutely critical of whether the massed violins in the score have all the openness and 'airiness' they can muster, for example - whereas if you didn't quite catch Morpheus saying that his belief system does not require that you believe the same as he does, well, you may have missed the entire point of the movie .

Sure, a system that is properly set up will work well for both movies and music. I use music recordings I do to put the finishing touches on a system, though, because they are known to my ears. But that is definitely conditional upon the speakers being of a certain quality, aimed correctly, with adequate amplification and then in a room that is properly treated.

Jeff

We have, Jeff, achieved concurrence :)

Just purchased the Audyessy Pro Kit and have bought the license/set up the key. This may be a stupid question but do I need to download the mic calibration file?

Quote:

Originally Posted by pepar 

If you bought the kit, it should be on the software installation disc. If the kit is new, the software should be up-to-date. Otherwise, you will need to download the latest version.
Have you set up an Audyssey Installer account on the website? You will need the account to buy a license and to renew the key.

Yes I bought the kit new and it has the version 3.6 software. I did set up an account when purchasing the license, just wasn't sure if I should download the mic calibration file or not.

Thanks for the answer, I'm sure I'll have more when I start calibrating.

Quote:

Originally Posted by weird 23 

Just purchased the Audyessy Pro Kit and have bought the license/set up the key. This may be a stupid question but do I need to download the mic calibration file?

No - the mic calibration file is on the disc supplied with the kit. Of course, once you know the serial number of the mic, you can download it if you wish. 

See this section of the FAQ for more detail:

b)4.   How do I get started?

Talking of version 3.6, do we have an 'official' answer to what the differences are between 3.6 and 3.5?  I am using 3.5 and I don't usually update software that is working unless there are new features I need etc or some bug that was affecting me has been fixed.  If someone can point me to the differences, and suggest if updating serves any useful purpose, I will add the info to the FAQ under a 'Software versions' header.  Often the software seems to be updated as new hardware comes out - if that is the only difference, I'll stick with 3.5 for now. Thanks.

Quote:

Originally Posted by pepar 

Quote:

Originally Posted by kbarnes701 

Talking of version 3.6, do we have an 'official' answer to what the differences are between 3.6 and 3.5?  I am using 3.5 and I don't usually update software that is working unless there are new features I need etc or some bug that was affecting me has been fixed.  If someone can point me to the differences, and suggest if updating serves any useful purpose, I will add the info to the FAQ under a 'Software versions' header.  Often the software seems to be updated as new hardware comes out - if that is the only difference, I'll stick with 3.5 for now. Thanks.

Luke, Sep 13 12:10 pm (PDT):

Hi Jeff,

The MultEQ Pro 3.6 is introduce to support new devices, there are "some" updates and we will release a list once all AVR customers finalize their firmware.

Regards,
Luke
Audyssey Laboratories

---

No list has been released yet.

So just new device support then? 

Quote:

Originally Posted by pepar 

Quote:

Originally Posted by kbarnes701 

So just new device support then? 

There are those as of now undisclosed "updates" that will be listed when manufacturers finalize their firmware.

Jeff

Hmmm. Call me skeptical.... ;)  Are there any manufacturers who have still not finalised their Pro f/w?

Let's tackle it from the other end... has anyone using 3.6 noticed any differences between it and 3.5?  

Quote:

Originally Posted by AustinJerry 

Quote:

Originally Posted by kbarnes701 

Hmmm. Call me skeptical....  Are there any manufacturers who have still not finalised their Pro f/w?

Let's tackle it from the other end... has anyone using 3.6 noticed any differences between it and 3.5?  

Some time back, I reported that I had tested ver 3.6 to see if any of the known bugs had been fixed, and the answer is no, they have not. However, I have a different philosophy regarding software updates. I always install the latest version unless there have been reported issues. Of course, I had to upgrade for support of the 4520 model.

Thanks Jerry. I never install a software update unless I know it will bring me a tangible benefit. If it ain't borke, don't fix it is my philosophy :) 

I ran a fresh Pro calibration yesterday after making a few changes to my speaker configuration.  After measuring eight positions, saving the measurements, and calculating the filters, I was in the "Transfer filters to the 4520" step.  In the very last step of this process (the "writing filters to flash"), I received the following error:

Clicking OK returned me to the "Transfer filters to the 4520" step.  Several repeated attempts resulted in the same error each time.  So, I terminated the program, re-booted the laptop just to be safe, and power-cycled the 4520.  I then re-launched Pro, loaded the saved measurements, and this time the filters transferred successfully.

Of course, by reloading the measurements, I ended up with the sub distances and trims set incorrectly (that pesky bug...).  I had to use sub distances and trims from the last calibration, which I assume are still correct.  Normally, I would have just started over with a new calibration, but the serial transfer bug on the 4520 means that a calibration takes forever.  There are just too many bugs with the Pro software these days.

Google search reveals that the error might be due to a stack overflow.  I will report this to Audyssey to see if they have an idea what might have caused it.  Anyone else care to venture a guess?

Quote:

Originally Posted by Cam Man 

Hi guys, I've had a bit of bad luck in the middle of a Pro cal of a 5509. Everything was going smoothly until the laptop power got kicked out during a mic position change. Once restarted and lanched, the sub levels in gain matching are indicating 20dB lower than they are. I've verified C-weighted spl by ear, RTA, and even the consumer xt32 gain matching.

I've tried the following:

Laptop restart
Simple clear of 5509.
All Clear of 5509.
uninstall/reinstall of Pro 3.6
Re-load of mic file
Router re-set

Problem persists; it indicates failure at -55dB when it's really -75dB.

Any ideas?

I'm currently running Pro through the min mic locations to let it calc just to see what happens.

I guess you could try a hard reset of the 5509 - nothing to lose (other than all your settings, so make a note of them first).

RESET Onkyo to Factory

To reset the AV receiver to its factory defaults, turn it on and, while holding down the [VCR/DVR] button on the unit, press the [ON/STANDBY] button on the unit. "Clear" will appear on the display and the AV receiver will enter Standby mode.