A quick question - e.g. On the LCR - "low frequency roll-on points" - if my Crossovers are 100Hz, these frequencies won't make it to the speakers in practice. So would it be better to copy the Subwoofer curve here to prevent reducing the LF of the LCR unnecessarily? I think the same applies with the Surrounds/Heights?
Not sure I understand the question. The goal is to have identical correction in the range of one octave below, and one octave above, the crossover (50-200Hz for a 100Hz crossover). There is noting wrong with adjusting the correction cut-off in the low end for speaker groups that have higher low frequency roll-off. For example, I don't correct below 50Hz for my surrounds, but correct down to 30Hz for the LCR. Does that address the question?
Q2. I changed the LPF of LFE to 120Hz in the 88-1 - but left it BYPASSED in 88-2.
The purpose of the LPF on the LFE channel is to block sound that may have crept into the LFE channel that is above 120Hz. The LFE channel only contains by design frequencies below 120Hz. Where to implement the LPF is the real question. The LFE signal originates in your pre-pro, is routed to input 3 on 88A-1, and then passed along with the re-directed bass from the bed channels to input 3 on 88A-2, correct? In the pre-pro, can the LPF for LFE be defeated (on my Marantz, it cannot). If no, then you don't want an LPF for LFE on either 88A, since cascading LPF's is not a good idea. Simply leave the LPF in the pre-pro as is. If the pre-pr0 is not implementing the LPFD, then the correct place for it is in 88A-1, not 88A-2. If you implement it in 88A-2, it will apply to the re-directed bass from the bed channels as well, which would be wrong.
Q3. Does anyone have a work around of communicating to both 88-1 and 88-2 at the same time, on the same PC? I am finding the trouble of going into 2 different DLCT projects, and BM of both units, a royal pain. The latter is the worst, as the way of having to load a file, connect/synchronise is difficult at times to remember exactly what's going on. I have decided to have a Config file for each SLOT now, making a total of 8 BM files for both 88 units.
This is a more difficult question. There are no short-cuts. However, IMO there is also no need to make things more complicated than they need to be. Do you really have four unique custom targets that you use? In my case, I use different 88A pre-sets to compare different target curves, but once I decide which target is the best, I use the same target curve for ALL sources (movies and music). Tweaking the target curve for different sources is borderline obsessive, no disrespect intended. And as for the bass management configuration, why would you have different ones for each slot? The crossovers and bass management should be the same, regardless of which slot you are using, so simply copying the configuration to all pre-sets should be relatively simple. The only case in which this may not apply is if you have implemented gain management, and you need different output levels for different pre-sets, assuming you are using different target curves. Again, settling on one target curve eliminates this complexity. Did you implement gain management and, if so, are you doing it on both 88A's? I don't know of anyone who has done gain management on a two-88A configuration
Finally, you are the classic example of how implementing a dual-88A configuration for immersive set-ups can become overly complex. Is it worth the effort? Or would you be better off with one of the newer processors that have Dirac Live correction for more than 8 channels, like the NAD? You could sell the two 88A's and get enough money to buy a NAD, and your life would be much simpler, IMO.