The official Dolby Atmos thread (home theater version) - Page 1842 - AVS Forum | Home Theater Discussions And Reviews
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post #55231 of 57341 Old 07-25-2019, 01:00 PM
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Originally Posted by Deezul View Post
I have stacks and stacks of DVDs still in shrink wrap that I swore I'd watch one day. And yet they sit. I'd rather not spend $20 on a UHD disk that I'll watch one time then forget about when I can spend $70 a year, watch the new Marvel and Star Wars series, fire up any of the MCU or Star Wars movies, Disney animated movies, any Simpsons episode I want, etc...
Wait, you really think it's only going to be $6 a month.

ROFL
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post #55232 of 57341 Old 07-25-2019, 01:04 PM
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It's already confirmed that Disney + will have an introductory price of $70/year. I highly doubt it'll remain that price as the service matures.

https://www.cnet.com/news/disney-plu...ar-wars-pixar/
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post #55233 of 57341 Old 07-25-2019, 01:11 PM
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Originally Posted by snookfisher View Post
What would you recommend the LFE be set at?
The speaker's crossover should not be set lower than 80Hz if you use a global crossover (same value for all pairs) - based on your actual speaker's audio range - and also not lower than what Audyssey did detect for each pair. If you do not want to use a global crossover you should keep the detected crossover by Audyssey for each pair.

Do not confuse the speaker's crossover with the "LPF for LFE" parameter - this is the Low Pass Filter point that extracts the bass from all the channels and combines the extracted bass with the LFE 0.1 distinct channel, the resulting signal is routed to the Subwoofer. "LPF for LFE" parameter usually defaults to 120Hz and should not be modified except special cases - like the IMAX Enhanced customization.
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post #55234 of 57341 Old 07-25-2019, 01:22 PM
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Originally Posted by dfa973 View Post
The speaker's crossover should not be set lower than 80Hz if you use a global crossover (same value for all pairs) - based on your actual speaker's audio range - and also not lower than what Audyssey did detect for each pair. If you do not want to use a global crossover you should keep the detected crossover by Audyssey for each pair.

Do not confuse the speaker's crossover with the "LPF for LFE" parameter - this is the Low Pass Filter point that extracts the bass from all the channels and combines the extracted bass with the LFE 0.1 distinct channel, the resulting signal is routed to the Subwoofer. "LPF for LFE" parameter usually defaults to 120Hz and should not be modified except special cases - like the IMAX Enhanced customization.
Thanks..it is indeed set at 120. What i have done in the past is set the main speakers at 80 the center and surrounds at 120
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post #55235 of 57341 Old 07-25-2019, 01:27 PM
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Originally Posted by snookfisher View Post
Thanks..it is indeed set at 120. What i have done in the past is set the main speakers at 80 the center and surrounds at 120
Based on your listed models, all the speakers should sound just fine if you use a global crossover of 80Hz. Try it!
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post #55236 of 57341 Old 07-25-2019, 01:31 PM
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Originally Posted by dfa973 View Post
Based on your listed models, all the speakers should sound just fine if you use a global crossover of 80Hz. Try it!
I will...tonight...im getting a bit confused though...should i not use the AUDSSEY correction then? i thought if i changed the crossovers it would mess it up? i did buy the 6011 used so i think i will do a factory reset and start from scratch.

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post #55237 of 57341 Old 07-25-2019, 01:47 PM
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Originally Posted by snookfisher View Post
I will...tonight...im getting a bit confused though...should i not use the AUDSSEY correction then? i thought if i changed the crossovers it would mess it up? i did buy the 6011 used so i think i will do a factory reset and start from scratch.
A factory reset and start from scratch is a good idea.
But changing the crossovers does not minimize Audyssey's usefulness.
By all means, keep Audyssey calibrated and enabled.
A proper Audyssey calibration should find the values of the correct crossovers, very close to the actual speakers lower range value (as stated in a previous post).
In this state, the receiver should sound very, very good. Do remember to set all the speakers to SMALL after the calibration.
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post #55238 of 57341 Old 07-25-2019, 01:58 PM
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Originally Posted by batpig View Post
You should check out "Sully". This is an extremely underrated Atmos mix, and one of the very best examples of a movie that doesn't use Atmos for bombast but rather to immerse you in the environment of the movie. Small touches like the ambient noise in the airport, PA announcements in the airport or plane emanating from overhead, and other subtle environmental cues are used to great effect.

If you're looking for an example of a really thoughtful usage of Atmos to really transport you INTO the movie (vs. bludgeoning you with explosions and rockets zooming overhead) this is one of the most skillfully executed I've heard.
***Spot on with the Sully Atmos soundtrack observation. Do you remember the sound of the engines after the geese strike? The weird aircraft noises? That’s when I started to look for the flight attendant button to find out what was going on. Then I remembered I was in my home theater.
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post #55239 of 57341 Old 07-25-2019, 02:06 PM
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Quote:
Originally Posted by snookfisher View Post
I will...tonight...im getting a bit confused though...should i not use the AUDSSEY correction then? i thought if i changed the crossovers it would mess it up? i did buy the 6011 used so i think i will do a factory reset and start from scratch.
As I recall it, Audyssey does not set the cross-over points; your AVR does. Audyssey make room corrections. Set the cross-over points to where ever your ears say is good.

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post #55240 of 57341 Old 07-25-2019, 02:11 PM
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Originally Posted by mhmercer View Post
As I recall it, Audyssey does not set the cross-over points; your AVR does. Audyssey make room corrections. Set the cross-over points to where ever your ears say is good.
Nope, Audyssey discovers (by measuring) the actual range of each speaker pair and sets the crossover value according to the detected value. You can later edit those values.

later edit: the AVR actually receives the values of speaker roll off measured by Audyssey and you can say that the AVR "sets" the values, but the AVR has not done anything to get them.

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post #55241 of 57341 Old 07-25-2019, 02:45 PM
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Originally Posted by Ricoflashback View Post
***Spot on with the Sully Atmos soundtrack observation. Do you remember the sound of the engines after the geese strike? The weird aircraft noises? That’s when I started to look for the flight attendant button to find out what was going on. Then I remembered I was in my home theater.

Yeah, better watch out for those flashbacks, Rico.


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post #55242 of 57341 Old 07-25-2019, 03:42 PM
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Be careful not to go blind. Otherwise, good advice.


What you did there...I see it...


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post #55243 of 57341 Old 07-25-2019, 04:00 PM
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Sorry my standards aren't up to the great Dan Hitchman who insists that his way is the only way, and anyone who settles is wrong. I'm going to blow your mind again Dan. I'm happy with my Sony TV, AVR, and speakers. But I guess I should go home and cry because Dan says I'm wrong, and he knows how much I invested.

Don't be an ass. All I said is that if you have a good audio system and a good 4k TV, there are ways of seeing 4k movies on disc without purchasing in the best possible way. Enjoy streaming and long life.

Listen up, studios! Dolby Atmos Lite™ print-outs must stop!!

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post #55244 of 57341 Old 07-25-2019, 04:00 PM
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Originally Posted by dfa973 View Post
Do not confuse the speaker's crossover with the "LPF for LFE" parameter - this is the Low Pass Filter point that extracts the bass from all the channels...

I don't believe that's quite correct.

LPF for LFE sets only its nominal* cutoff freq.

Bass management XO settings for the fronts and surrounds determines bass extracted from them and sent to the subs.


* As others have pointed out before, it's not a brick wall XO slope, so there's still output at 120 Hz even if it's set to 80 or 100, and can be used to fine tune bass response.
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post #55245 of 57341 Old 07-25-2019, 04:48 PM
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Originally Posted by trespoochies View Post
It's already confirmed that Disney + will have an introductory price of $70/year. I highly doubt it'll remain that price as the service matures.

https://www.cnet.com/news/disney-plu...ar-wars-pixar/
So the first hit is "free"... I guess they're going with the same sales model as your local undocumented street pharmacist. Get you hooked and then hike the price.
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post #55246 of 57341 Old 07-25-2019, 05:03 PM
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Originally Posted by Stereodude View Post
So the first hit is "free"... I guess they're going with the same sales model as your local undocumented street pharmacist. Get you hooked and then hike the price.

An apt analogy. Though, now it's your local doctor with Oxycontin.

Listen up, studios! Dolby Atmos Lite™ print-outs must stop!!
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post #55247 of 57341 Old 07-25-2019, 05:34 PM
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Originally Posted by Stereodude View Post
So the first hit is "free"... I guess they're going with the same sales model as your local undocumented street pharmacist. Get you hooked and then hike the price.
Considering I pay $15.99/month for the Netflix 4K premium streaming subscription, Disney has a LOT of breathing room to gradually increase prices while still staying very competitive in the streaming service space.

I'm happy to give them my money for access to their enormous library of content, I have two little kids.... plus I'm a big kid who will need access to Star Wars + Marvel content. $6/month is relative steal for the service and I'm happy to get hooked like a high school getting my first hit from the street dealer
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post #55248 of 57341 Old 07-25-2019, 07:02 PM
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But it doesn't seem to me that the studio decision makers, who are looking for the next tent-pole feature, would be focused on dedicating the attention and resources to an aspect of the movie-making that is not going to drive asses in seats.

And right on cue from today's N.Y. Times Business section:


"HBO, long the capital of small-screen taste-making, is under orders from its new corporate parent, AT&T, to add more shows that appeal to Middle America."

"“They are trying to have massive, breakout global hits,” Rich Greenfield, a media industry analyst formerly at BTIG Research, said of Amazon."

"“Each one of the platforms is now under tremendous pressure to drive massive subscriber growth,” said a former senior executive at a large digital property. He added that former colleagues who invested too heavily in outsider voices — at the perceived expense of finding the next blockbuster — sometimes found their jobs at risk. “You quickly end up having conversations like, ‘How is what you’re doing connected to our commercial goals?’” the former executive said."


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post #55249 of 57341 Old 07-25-2019, 07:02 PM
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Be careful not to go blind. Otherwise, good advice.

Wondered if anybody would pick up on that



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post #55250 of 57341 Old 07-25-2019, 07:04 PM
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I still don't ever want to watch a movie on my phone. The Kool-Aid just doesn't taste right.
I do watch some stuff on my phone when it's really late at night, and I can't sleep, but don't want to disturb the household - I don the Apple earbuds and grip the iPhone for a less-than-stellar experience. Never serious watching - and still, it's just pathetic compared to the big screen (yeah, it's only 65", so that's relative....). I feel sorry those millenials that know nothing else and think this is a good entertainment experience.....

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Be careful not to go blind. Otherwise, good advice.
When I saw this I was just about to take a big swig off a nice, ice-cold beverage - that would have been a disaster for my laptop screen from a containment standpoint....
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post #55251 of 57341 Old 07-25-2019, 10:51 PM
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So here’s The Doors in Atmos, about 10 minutes in. Looks like the presence channels are busy. Check out those wides and front side surrrounds (SS1)....lots of ambient content here. The concert scene with Crystal Ship is the second snapshot, with organ nicely permeating the right side from wides to surrounds...

Oddly the L/R mains seem to fluctuate a bit, sometimes going silent (as per the screenshots). This movie is a true snapshot of how brilliant, weird and ultimately destructIve the 60s rock scene lcould be...

“Is everybody in? The ceremony is about to begin....”
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post #55252 of 57341 Old 07-25-2019, 10:57 PM
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It had my identical ceiling speakers rated to 50hz like this .. rear 250 front 150 also had the center crossed over at 250hz …. the older ausyssey in my old pre pro didn't come up with the same numbers in the same room for my 7.2 ?
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Originally Posted by dfa973 View Post
With such high crossovers, it does not come as a surprise that the resulting sound is not right....

The right crossovers should be:

Magneplanar 1.7 = 40/50Hz
Magnepan’s CC3 = 80/90Hz
APG MC1 = 65/80Hz
Focal in ceiling (100 series???) = 50/60Hz
A few recommendations about crossover points and Audyssey, if I may:
1. Audyssey reads the point where the speaker starts to roll off sharply. This is usually lower than the speaker's -3dB anechoic spec just by virtue of it being in your room. If Audyssey is reading a sharp rolloff higher than that spec'd point, it's because of acoustic issues in the room. The only way to deal with that is by re-positioning, treatments, etc. to fix the issues. Audyssey = garbage in, garbage out.

2. Audyssey's software passes that rolloff data to the AVR to set system crossovers... but different manufacturers use different tolerances and headroom and may set things differently. Not every brand's software follows Audyssey's recommended guideline for this setting.

3. In-ceiling speakers may be rated to 50 or 60Hz, but may not be able to reach that extension once actually in the ceiling. If Audyssey is reading those channels at a much higher recommended crossover, you would usually want to address that with something like a backing box so that it has an enclosure to work with. Depending on your install, you can sometimes fix those issues with something as simple as the proper placement of a little insulation around the speaker. The area above your speakers can reinforce the low end... or cause your ceiling to act a phase-shifted passive radiator that creates a gap in the frequency response. But if Audyssey is detecting 150-250Hz rolloffs for 50Hz in-ceilings, that's a clear sign that you've got a little work to do above your room.

4. LPF of LFE should always stay at 120Hz if your goal is accurate reproduction. This only filters the LFE channel, which tends to be filtered during content creation anyway... but filtering it lower than 120Hz can reduce the level of harmonics that lend sounds in the LFE channel their perceived tone. Whether it will be a noticeable difference varies from person to person and room to room, but as a general rule, you shouldn't cascade the filtering done during content creation with additional filtering of that channel in your gear. The harmonics from the lower frequency sounds won't be significant enough in level to make your subwoofer easier to localize, but they do alter the way you perceive those sounds tonally.

5. Never set a post-Audyssey crossover LOWER than it was detected at. The range between that new crossover point and what Audyssey detected will essentially be unequalized, and worse, if you really do have an acoustic issue that is causing a suckout significant enough to trigger Audyssey's detection of the transition point, you are losing headroom trying to reproduce sound the speaker can't do efficiently in your room.

6. I've found that a good guideline for what you would WANT the crossover points to be is to take the speaker's lower -3dB spec and multiply it times 1.5 then pick the closest crossover point to this number offered in your AVR. This gives you a half-octave so you get a smooth gap-free transition from the point where the sub and speaker are reproducing those frequencies equally down to the in-room extension you get from the speaker. So if your speaker is good down to 40Hz before it rolls off, set it to 60Hz. If your speaker's good down to 25Hz, as tempting as it may be to set it to large, try it at 40Hz instead. Leave the heavy lifting to the subwoofer, where you likely have more amplification, and you will also get cleaner sound from those channels as a result. I see many say to set your crossover to the -3dB spec'd point, but a lot of times that can cause a loss of response during the crossover's transition because you're cascading the in-AVR filter with the speaker's natural rolloff slope.

7. I've also found that if your AVR provides a coarse display of Audyssey's measured in-room response for each channel, you can use this as a general check for what frequency you should be aiming for. So for instance, if I look at Audyssey's coarse graph and see that a speaker I expect to have a -3dB point of 50Hz is changing from below the 0 line to above it, I can tell at what frequency Audyssey is having to boost to bring it into line. And if that transition point is above the spec'd -3dB point, I know I have some in-room work to do to fix frequency issues. If that transition point shows on the graph at lower than the spec'd -3dB point (which is what you would ideally expect given room reinforcement), then I apply the 1.5x rule to the number on the graph where that transition occurs (i.e. where Audyssey goes from cutting frequencies to having to boost them). Again, the goal is to give a smooth transition from speaker to sub so that you aren't relying heavily on boosted equalization below the speaker's in-room capabilities. My half-octave rule tends to work nicely with the filter slopes typically used in system crossovers.

8. Specific to Atmos and whether you're hearing sounds placed well between the bed-level layer and the overheads: For the bed-level channels, you can easily verify cohesion of cross-channel pans using phase tests (i.e. test material that places sound 50% in one channel and 50% in another channel so you can hear if it images between those two channels). All things being equal, if your system distance/delay is properly detected and set, you should get good cross-channel transitions all the way around. HOWEVER, as the man says, a plan is just a list of things to go wrong. So here's what I recommend... After running Audyssey, setting your crossovers, and making sure DynamicEQ is off (because it plays hell with Atmos, as its development did not take into account the presence of overhead channels and how mixers might adjust that to give the intended results at lower volume levels than reference), play Dolby's LEAF demo on a loop. Listen specifically for the pans from bed level to above and across the room. If it seems like those transitions are going too suddenly from bed to overhead rather than making a smooth pan, try adjusting the distance/delay of ALL your overheads in small increments. More times than not, a relatively minor adjustment can snap that low-to-high imaging into place such that it works better across all of your seats. In other words, listen to the clip as-is... then set all of your overheads +0.1 foot and listen again... then repeat a few times... then go back to Audyssey's detected distance and try -0.1 foot increments. You will KNOW when you find the ideal setting... because you will hear that cohesive DOME of sound that we keep talking about here.

9. Another minor tweak for x.x.4 setups: Play the Helicopter demo on a loop and listen for cross-channel transitions between each overhead. If you hear the transition between each channel pair drop out or transition too quickly, try making small adjustments to that single channel to see if you can get a more cohesive pan between them. This is getting REAL nit-picky and may not matter to anyone outside of the MLP... but if you're in the MLP (and why wouldn't you be), you might as well strive for perfection there.
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post #55253 of 57341 Old 07-26-2019, 05:51 AM
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Don't be an ass. All I said is that if you have a good audio system and a good 4k TV, there are ways of seeing 4k movies on disc without purchasing in the best possible way. Enjoy streaming and long life.
Your words - "Another person who folds so easily." If you don't have something nice to say, don't say anything. But I'm the ass.
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post #55254 of 57341 Old 07-26-2019, 08:00 AM
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May have been mentioned before, but Shazam! makes good use of top speakers. There is a mid-credit scene that is almost exclusive front and top with great panning.
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7.3.4 Setup---TV: LG OLED 65B7A, Receiver: Marantz SR-6012, External 2-channel amplifier: Marantz MM7025, Blu-Ray Player: LG UBK90, Fronts: JBL S312, Center: JBL S-Center, Surrounds: JBL S38, Surround Back: JBL S36 ,Top: JBL S36 (4), Subwoofer: 2 PSA S3000i and one PSA XS-30se
http://www.blu-ray.com/community/col...&action=hybrid
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post #55255 of 57341 Old 07-26-2019, 08:08 AM
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A few recommendations about crossover points and Audyssey, if I may:
1. Audyssey reads the point where the speaker starts to roll off sharply. This is usually lower than the speaker's -3dB anechoic spec just by virtue of it being in your room. If Audyssey is reading a sharp rolloff higher than that spec'd point, it's because of acoustic issues in the room. The only way to deal with that is by re-positioning, treatments, etc. to fix the issues. Audyssey = garbage in, garbage out.

2. Audyssey's software passes that rolloff data to the AVR to set system crossovers... but different manufacturers use different tolerances and headroom and may set things differently. Not every brand's software follows Audyssey's recommended guideline for this setting.

3. In-ceiling speakers may be rated to 50 or 60Hz, but may not be able to reach that extension once actually in the ceiling. If Audyssey is reading those channels at a much higher recommended crossover, you would usually want to address that with something like a backing box so that it has an enclosure to work with. Depending on your install, you can sometimes fix those issues with something as simple as the proper placement of a little insulation around the speaker. The area above your speakers can reinforce the low end... or cause your ceiling to act a phase-shifted passive radiator that creates a gap in the frequency response. But if Audyssey is detecting 150-250Hz rolloffs for 50Hz in-ceilings, that's a clear sign that you've got a little work to do above your room.

4. LPF of LFE should always stay at 120Hz if your goal is accurate reproduction. This only filters the LFE channel, which tends to be filtered during content creation anyway... but filtering it lower than 120Hz can reduce the level of harmonics that lend sounds in the LFE channel their perceived tone. Whether it will be a noticeable difference varies from person to person and room to room, but as a general rule, you shouldn't cascade the filtering done during content creation with additional filtering of that channel in your gear. The harmonics from the lower frequency sounds won't be significant enough in level to make your subwoofer easier to localize, but they do alter the way you perceive those sounds tonally.

5. Never set a post-Audyssey crossover LOWER than it was detected at. The range between that new crossover point and what Audyssey detected will essentially be unequalized, and worse, if you really do have an acoustic issue that is causing a suckout significant enough to trigger Audyssey's detection of the transition point, you are losing headroom trying to reproduce sound the speaker can't do efficiently in your room.

6. I've found that a good guideline for what you would WANT the crossover points to be is to take the speaker's lower -3dB spec and multiply it times 1.5 then pick the closest crossover point to this number offered in your AVR. This gives you a half-octave so you get a smooth gap-free transition from the point where the sub and speaker are reproducing those frequencies equally down to the in-room extension you get from the speaker. So if your speaker is good down to 40Hz before it rolls off, set it to 60Hz. If your speaker's good down to 25Hz, as tempting as it may be to set it to large, try it at 40Hz instead. Leave the heavy lifting to the subwoofer, where you likely have more amplification, and you will also get cleaner sound from those channels as a result. I see many say to set your crossover to the -3dB spec'd point, but a lot of times that can cause a loss of response during the crossover's transition because you're cascading the in-AVR filter with the speaker's natural rolloff slope.

7. I've also found that if your AVR provides a coarse display of Audyssey's measured in-room response for each channel, you can use this as a general check for what frequency you should be aiming for. So for instance, if I look at Audyssey's coarse graph and see that a speaker I expect to have a -3dB point of 50Hz is changing from below the 0 line to above it, I can tell at what frequency Audyssey is having to boost to bring it into line. And if that transition point is above the spec'd -3dB point, I know I have some in-room work to do to fix frequency issues. If that transition point shows on the graph at lower than the spec'd -3dB point (which is what you would ideally expect given room reinforcement), then I apply the 1.5x rule to the number on the graph where that transition occurs (i.e. where Audyssey goes from cutting frequencies to having to boost them). Again, the goal is to give a smooth transition from speaker to sub so that you aren't relying heavily on boosted equalization below the speaker's in-room capabilities. My half-octave rule tends to work nicely with the filter slopes typically used in system crossovers.

8. Specific to Atmos and whether you're hearing sounds placed well between the bed-level layer and the overheads: For the bed-level channels, you can easily verify cohesion of cross-channel pans using phase tests (i.e. test material that places sound 50% in one channel and 50% in another channel so you can hear if it images between those two channels). All things being equal, if your system distance/delay is properly detected and set, you should get good cross-channel transitions all the way around. HOWEVER, as the man says, a plan is just a list of things to go wrong. So here's what I recommend... After running Audyssey, setting your crossovers, and making sure DynamicEQ is off (because it plays hell with Atmos, as its development did not take into account the presence of overhead channels and how mixers might adjust that to give the intended results at lower volume levels than reference), play Dolby's LEAF demo on a loop. Listen specifically for the pans from bed level to above and across the room. If it seems like those transitions are going too suddenly from bed to overhead rather than making a smooth pan, try adjusting the distance/delay of ALL your overheads in small increments. More times than not, a relatively minor adjustment can snap that low-to-high imaging into place such that it works better across all of your seats. In other words, listen to the clip as-is... then set all of your overheads +0.1 foot and listen again... then repeat a few times... then go back to Audyssey's detected distance and try -0.1 foot increments. You will KNOW when you find the ideal setting... because you will hear that cohesive DOME of sound that we keep talking about here.

9. Another minor tweak for x.x.4 setups: Play the Helicopter demo on a loop and listen for cross-channel transitions between each overhead. If you hear the transition between each channel pair drop out or transition too quickly, try making small adjustments to that single channel to see if you can get a more cohesive pan between them. This is getting REAL nit-picky and may not matter to anyone outside of the MLP... but if you're in the MLP (and why wouldn't you be), you might as well strive for perfection there.
Well...I must admidt….im a little perplexed. I did a factory reset on the 6011 last night and reran audyssey last night. And I got the same crossover and distance measurements... but I hooked up my old onkyo pre pro that has the older AUDYSSEY and it came up with more "normal" numbers. I get that room acoustics and other factors can affect these things but to such a dramatic and extreme way? this is what I got last night with the marantz:

FRONT: 60hz
CENTER 120hz
SURR 250hz
SUR BACK 150hz
TOP FRONT 150hz
TOP BACK 250HZ

I listened to the demo disc with these settings and. it was ok. so I set all speakers to 80hz... not good.. very thin. I really cant believe my room has this bad a problem. especially with the wildly different top channels . they are mounted in the same space and are all identical. In the 4 rooms I have set up my theater over the last 15 yrs.. ive never had issues like this.
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post #55256 of 57341 Old 07-26-2019, 08:22 AM
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Atmos upfiring help

I posted in the speaker forum but want to get input from here as well. I am looking for some advise on adding Dolby Atmos upfiring modules to my set-up. I am setting up speakers in new house in 12 x 16 room with 8 foot flat sheet rock ceiling. My seating position will be approximately 9 feet from front wall. My estimate seating distance from front speakers/atmos module will be 7 feet and distance from rear speakers/atmos module will be approx. 6 feet.



I have been planning and analyzing for weeks/month going around and around on my options for 5.1.4 atmos in regard to height speakers. From my understanding the most effective to least effective is in-ceiling > high on side walls > upfiring modules.


I have also read that in a room with lower flat ceiling that upfiring modules can be very effective. I would prefer not to tackle in-ceiling and was considering trying up-firing due to ease of setup and less wire hiding. My current speakers I will be using are older Infinity Beta series. Front Beta 50s, 360 center, and pair ES250s for surrounds (set to mono) and SVS psi 20-39pci sub. My receiver is Denon 4500H.



The questions I have are as follows:
1. Is my room a good/ideal option for upfiring atmos modules?
2. Is it important to timbre match atmos modules to mains?
3. How effective are upfiring modules in a good room?
4. Are there substantial difference in effectiveness of upfiring modules based on brand/model?
5. Any recommendations on what brand/model?




Thanks in advance..
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post #55257 of 57341 Old 07-26-2019, 08:56 AM
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Originally Posted by snookfisher View Post
Well...I must admidt….im a little perplexed. I did a factory reset on the 6011 last night and reran audyssey last night. And I got the same crossover and distance measurements... but I hooked up my old onkyo pre pro that has the older AUDYSSEY and it came up with more "normal" numbers. I get that room acoustics and other factors can affect these things but to such a dramatic and extreme way? this is what I got last night with the marantz:

FRONT: 60hz
CENTER 120hz
SURR 250hz
SUR BACK 150hz
TOP FRONT 150hz
TOP BACK 250HZ

I listened to the demo disc with these settings and. it was ok. so I set all speakers to 80hz... not good.. very thin. I really cant believe my room has this bad a problem. especially with the wildly different top channels . they are mounted in the same space and are all identical. In the 4 rooms I have set up my theater over the last 15 yrs.. ive never had issues like this.



No one has suggested this yet, but I honestly think your audyssey mic has gone bad. I would suggest contacting Marantz or looking on eBay for a new one.
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post #55258 of 57341 Old 07-26-2019, 09:00 AM
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Quote:
Originally Posted by snookfisher View Post
Well...I must admidt….im a little perplexed. I did a factory reset on the 6011 last night and reran audyssey last night. And I got the same crossover and distance measurements... but I hooked up my old onkyo pre pro that has the older AUDYSSEY and it came up with more "normal" numbers. I get that room acoustics and other factors can affect these things but to such a dramatic and extreme way? this is what I got last night with the marantz:

FRONT: 60hz
CENTER 120hz
SURR 250hz
SUR BACK 150hz
TOP FRONT 150hz
TOP BACK 250HZ

I listened to the demo disc with these settings and. it was ok. so I set all speakers to 80hz... not good.. very thin. I really cant believe my room has this bad a problem. especially with the wildly different top channels . they are mounted in the same space and are all identical. In the 4 rooms I have set up my theater over the last 15 yrs.. ive never had issues like this.
Lowering the crossovers after Auddysey calibration is a BIG NO-NO because you will end up in a state where there is no room correction for the bed+top channels below the detected roll-off frequencies and the resulted sound cannot be good - as you have experienced!
No wonder the sound is thin!

So there is a low-frequency suck out in the room that Audyssey detects for your surrounds and tops - or other room/speaker problems.

Do you have acoustic room treatment on the front/back of the room?
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post #55259 of 57341 Old 07-26-2019, 09:20 AM
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No one has suggested this yet, but I honestly think your audyssey mic has gone bad. I would suggest contacting Marantz or looking on eBay for a new one.
Honestly, that's a solid suggestion. The first Audyssey mic I got with my Denon 5200 had a bad mic capsule, and I only realized it because my post-Audyssey levels were a solid 8dB off from reference compared to checking with my SPL meter. Denon sent me a replacement mic and it made a world of difference. It is very possible that he may have a bad mic.
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post #55260 of 57341 Old 07-26-2019, 09:40 AM
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No one has suggested this yet, but I honestly think your audyssey mic has gone bad. I would suggest contacting Marantz or looking on eBay for a new one.
I was thinking the same thing.... question...

Would my older AUDYSSEY mic from the onkyo work with the new advanced AUDYSSEY ?
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