The Official Anthem AVM 60 thread - Page 229 - AVS Forum | Home Theater Discussions And Reviews
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post #6841 of 9745 Old 04-09-2018, 12:21 PM
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Originally Posted by fatbottom View Post
No dual subwoofer out...major deal breaker. If you're spending thousands on a AV pre most likely you'll have or want dual subs
would like to know about the integration with the iOS app.
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post #6842 of 9745 Old 04-09-2018, 12:48 PM
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Originally Posted by BGLeduc View Post
In David Rich's ARC tweaking guides available at Secrets, he implies that ARC has finite resources available for EQ, and that if you EQ up higher in the range, it may be at the expense of EQ in the lower regions, and vis-a-versa.

The differences may be negligible in terms of audibility, but they may appear in the traces.
The difference is indeed visible based on measurements I made of the EQ applied to the audio:



You can also see it in the ARC report. The lower MaxEQ cutoffs show the corrected response lying tightly on the target curve, whereas the 20 kHz MaxEQ correction shows some residual difference remains.
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post #6843 of 9745 Old 04-09-2018, 12:55 PM
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Originally Posted by bigguyca View Post
Emotiva has chosen to be non-standard in its actual implementation of XLR connections in the Gen3. The Gen3 connected via XLR's to almost any other equipment will cause a phase reversal. There have been many posts on this forum concerning how to overcome Emotiva's Gen3 XLR implementation.
Okay, great. That's what I'm going to need to research. Thanks for the help!

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post #6844 of 9745 Old 04-09-2018, 01:01 PM
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Originally Posted by adrummingdude View Post
I have that same nasty suckout between 100-200hz. In my case, I'm almost positive it's a front boundary cancellation, and since this is a family room there's pretty much nothing I can do about it. Bass trapping, moving speakers, moving MLP, nada to all of it.

I am considering getting a REW setup so I can see just how much ARC is "correcting" this dip. In theory, if it's a cancellation, the more it gets boosted the more it will also cancel...mostly anyway. So while ARC thinks it is boosting it to flat, it might still be dropped after ARC's correction.

...unless there's a way to run sweeps with ARC enabled?
Cannot run ARC sweeps with ARC enabled.

If there's a dip due to a cancellation, you probably don't want EQ to try to fix it. Wastes power and headroom -- and does not improve the sound. ARC boost is limited to 6 dB.

Acoustically, the properties of a cancellation do not change with excitation until the walls start flexing, or the like. One might get the feeling that a null gets deeper as it is driven harder, but that's a measurement artifact (insufficient resolution). REW can offer higher resolution measurements, which are good for analysis of acoustic properties, but they may only illustrate narrowband conditions that are not particularly audible.

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post #6845 of 9745 Old 04-09-2018, 01:34 PM
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Originally Posted by Roger Dressler View Post
Cannot run ARC sweeps with ARC enabled.

If there's a dip due to a cancellation, you probably don't want EQ to try to fix it. Wastes power and headroom -- and does not improve the sound. ARC boost is limited to 6 dB.

Acoustically, the properties of a cancellation do not change with excitation until the walls start flexing, or the like. One might get the feeling that a null gets deeper as it is driven harder, but that's a measurement artifact (insufficient resolution). REW can offer higher resolution measurements, which are good for analysis of acoustic properties, but they may only illustrate narrowband conditions that are not particularly audible.
You actually can boost out a front boundary null, as the speaker-boundary-MLP distance will be greater than the speaker-MLP distance as sound pressure diminishes over distance.. So for instance, my drivers are ~3ft from the front boundary, making the sound arrive ~6ft later as the waves are reflected. So, at the MLP, unless amplitude at 18ft is the same value as at 12ft, you will be getting more of an influence from the drivers than the wall. So, even if there is a cancellation, logic says you should be able to power through it, albeit at the expense of a big 150hz spike somewhere else in the room.

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post #6846 of 9745 Old 04-09-2018, 01:46 PM
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Originally Posted by adrummingdude View Post
You actually can boost out a front boundary null...
Did I suggest you couldn't? I'm saying you wouldn't want to. But of course, if you really do, please proceed.
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post #6847 of 9745 Old 04-09-2018, 03:30 PM
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I have seen discussions in regards to changing the Max EQ Frequency in ARC. If doing this, would I have to re-run ARC each time I changed this frequency? Or, could I run ARC using the default settings, run Calculate, then change the Max EQ Frequency and run Calculate again for a different Profile, etc.? So, can I run ARC 1 time, have it calculate for the Max EQ Freq I have set and then do this for each of the Profiles? I would then upload these results and save them to one file instead of needing 4 individual files.

Hope that makes some sort of sense and thanks for the help.

Spoiler!
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post #6848 of 9745 Old 04-09-2018, 03:39 PM
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This is probably a dumb question, but if ARC has my equalization cutoff value set to 80 Hz, does that mean that an 80 Hz crossover has been applied to my speakers, despite the fact that no crossovers are active via Setup > Bass Management?

I thought that was how it worked, but I just encountered some ridiculous bass in Tron: Legacy that made me think my monitors were running in full range (lots of air and excursion).
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post #6849 of 9745 Old 04-09-2018, 03:43 PM
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Originally Posted by RetiredandLovingIt View Post
I have seen discussions in regards to changing the Max EQ Frequency in ARC. If doing this, would I have to re-run ARC each time I changed this frequency? Or, could I run ARC using the default settings, run Calculate, then change the Max EQ Frequency and run Calculate again for a different Profile, etc.? So, can I run ARC 1 time, have it calculate for the Max EQ Freq I have set and then do this for each of the Profiles? I would then upload these results and save them to one file instead of needing 4 individual files.

Hope that makes some sort of sense and thanks for the help.
ARC generates a file that you just double click and edit with new values. You would normally only re-run ARC if your setup (e.g., speakers, furniture, layout) changed.
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post #6850 of 9745 Old 04-09-2018, 04:20 PM
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Originally Posted by adrummingdude View Post
Awesome.

Can you describe the differences you hear? On which sources, and how was it running before?

Hey Drummingdude, thanks for the inquiry. My sole music source is -and has been, from streaming of ripped CDs, some hi-rez download files and Tidal all through a Bryston BDP-1. I will try to describe what I have been hearing but bear in mind, any description must be taken in context of the addition of another set of interconnects which were previously not required; in this case a set of older unbalanced Transparent Ultra cables which was all I had with RCA connections. Also, using the analogue pass-through function on the AVM60 forces me to ditch both the Fathom subs and ARC. I was only using ARC at 250Hz cutoff so this would only effect the lower frequencies and the Fathoms were crossed over very low (50hz). Luckily, the Revel Studio 2s have very respectable bass on their own so I'm just losing that lowest 1/2 octave, but things are a teeeeeny bit flabbier without ARC. Onwards to the mids. Clarity and depth would be two words that jump out. The micro dynamics of plucked acoustic guitar strings, bowed violins or piano note attacks are much more in evidence with the Brooklyn. The DAC set in the AVM60 is very respectable (especially for a H/T processor) but the Brooklyn is indeed in another league allowing you to hear deeper into this mix. Instruments appear to be better separated with less compression or "squeezing" of the soundstage into a 2D image in the front to back dimension. It does this without seeming to disconnect any instruments from the whole though, so high marks here. Instruments just seem to be allocated more of their own "space" in the presentation. The treble, however, is where this thing really takes off from the Anthem. This in fact may be what I'm really hearing when trying to describe the midrange. The speed and clarity this thing has is quite amazing (makes me wonder what REAL gear like DCS or MBL convertors could do). I have also spent some wasted years as a drummer and I'm very critical of cymbal and snare reproduction. The Brooklyn is amazing in this regard, especially considering its relatively reasonable price. The shimmer and attack - even at low listening volumes, is really impressive. I see you have the Sopra 2s so you know what those Be tweeters can do. Well, I have to tell you, the Brooklyn really moves them into a new realm. I can't imagine you being disappointed. Now, to address any pending issues of hyperbole, it is in fairness required to state that these are all matters of degrees, not night and day leaps of sonic fireworks. I try to judge equipment by the "would I notice if someone replaced it in the middle of the night back to the Anthem"? In this case, the answer is absolutely, the differences are significant enough which is more than I could say about a lot of equipment I have tried over the years. I think to really move up from the Mytek would require a significant monetary leap to something like a PS Audio Directstream or EMM labs unit. Both of these are three to four times the Brooklyn's asking price. On the used market, this is a pretty much a no brainer upgrade. Highly recommended! 3 out of 4 glasses of Shiraz! BTW, I have not tried any DSD files or MQA streams from Tidal yet.

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post #6851 of 9745 Old 04-10-2018, 06:06 AM
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Originally Posted by Megalith View Post
ARC generates a file that you just double click and edit with new values. You would normally only re-run ARC if your setup (e.g., speakers, furniture, layout) changed.
Thank you very much!

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post #6852 of 9745 Old 04-10-2018, 11:00 AM
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Originally Posted by RedlineRonin View Post

So the manual isn't even correct? Wow.

I've never used XLRs before. How naive to think you'd just plug the cables in.....

Well, I guess I'll wait to hear back from the other two companies and see what needs to be done, once I know for sure what the situation is. This is mildly annoying, to say the least.
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Originally Posted by bigguyca View Post

While Marantz gets the physical pinouts correct in the XLR's in their equipment, their manuals are incorrect in describing regions to XLR pinouts and have been for years on this subject. This subject has arisen numerous times on Marantz threads, but the manuals continue to be incorrect through generations of equipment. Pin 2 hot is the standard, period...

Emotiva uses a non-standard pinout for XLR's at least in the Gen3.

Emotiva calls their Gen3 amplifiers Class H. Most people would call it Class G with Class H being something quite different.

Why; who knows?

The measurements section of the Stereophile reviews of the GEN3 mentions that the XLR pinouts are non-standard. The measurements also show very high levels of THD and IM distortion at high frequencies. See figs. 6, 9, 10 and 11. Again the high level of these distortions is very different from most solid state equipment. Fig. 7 and its description are also interesting.

https://www.stereophile.com/content/...r-measurements
This discussion on Emotiva not using the AES stand for its XLR wiring is not consistent with the information provided to me by Emotive support.

My Question:

"What is the wiring configuration for the XLR balanced connections on the XPA-7 Gen3 amplifier?

Is it the AES standard with pin 2 hot or is it the older USA configuration with pin 3 hot?"

Emotiva Response:

"Thank you for contacting us! Pin 2 is hot.

Please let us know if you have any further questions."


Based on this those of us who use Emotiva amplifiers don't have to worry about their speakers being out of phase. (Assuming your speaker connections are correct.)

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post #6853 of 9745 Old 04-10-2018, 11:21 AM
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Originally Posted by BarryDMartin View Post
This discussion on Emotiva not using the AES stand for its XLR wiring is not consistent with the information provided to me by Emotive support.

My Question:

"What is the wiring configuration for the XLR balanced connections on the XPA-7 Gen3 amplifier?

Is it the AES standard with pin 2 hot or is it the older USA configuration with pin 3 hot?"

Emotiva Response:

"Thank you for contacting us! Pin 2 is hot.

Please let us know if you have any further questions."


Based on this those of us who use Emotiva amplifiers don't have to worry about their speakers being out of phase. (Assuming your speaker connections are correct.)

The information on the XLR pinout comes from the measurements section of the Stereophile review of the product:

https://www.stereophile.com/content/...r-measurements

Your first step should be to read the entire measurements section. The subjective review is more interesting than most in Stereophile in that the reviewer had to search for speakers that matched the characteristics of the Emotiva Gen3.

Contacting John Atkinson is likely your best way to get this resolved, or perhaps others on this forum who have determined if the pinouts are to standard, that is pin 2 hot.
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post #6854 of 9745 Old 04-10-2018, 12:07 PM
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Originally Posted by BarryDMartin View Post
This discussion on Emotiva not using the AES stand for its XLR wiring is not consistent with the information provided to me by Emotive support.

My Question:

"What is the wiring configuration for the XLR balanced connections on the XPA-7 Gen3 amplifier?

Is it the AES standard with pin 2 hot or is it the older USA configuration with pin 3 hot?"

Emotiva Response:

"Thank you for contacting us! Pin 2 is hot.

Please let us know if you have any further questions."


Based on this those of us who use Emotiva amplifiers don't have to worry about their speakers being out of phase. (Assuming your speaker connections are correct.)
This is literally in direct conflict with what other posters are saying their customer service is telling people...

https://www.avsforum.com/forum/90-rec...l#post55609736

Quote:
Just out of curiosity I asked Emotiva to confirm how they wire the connectors on their amps, and this is the response I received a few minutes ago from their tech support:

"All Gen 3 amps are pin 3 hot, pin 2 cold (out of phase). If using with Marantz XLR outputs, flip the negative and positive speaker wire leads at the amp (hook them up backward). "

So that is why when I ran Audyssey with a Marantz amp I have it was reported that all of my speakers were out of phase. Interesting.

EDIT: After getting the above response, I asked if there was some reason for the doing it this way. Their answer was:

"It was too technical for me to understand. I asked engineering one day and he told me the technical reason why it lowers the floor noise to do it this way, and he lost me. This has been several months ago and I don't recall the specifics. But it does help with the floor noise to flip the incoming phase. "

Regards

Btw I just got a note back from Emotiva today acknowledging that they got my question about the pinout and are doing some research to verify (presumably because I'm on a Gen 1 XPA 5 and they need to go dig up some specs or blueprints or w/e)

E: Got my note back from Anthem confirming standard pinout, so should be no issue with the Marantz and AVM60. Just need to figure out the Emotiva...
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post #6855 of 9745 Old 04-10-2018, 01:43 PM
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Originally Posted by Spinaker01 View Post
Hey Drummingdude, thanks for the inquiry. My sole music source is -and has been, from streaming of ripped CDs, some hi-rez download files and Tidal all through a Bryston BDP-1. I will try to describe what I have been hearing but bear in mind, any description must be taken in context of the addition of another set of interconnects which were previously not required; in this case a set of older unbalanced Transparent Ultra cables which was all I had with RCA connections. Also, using the analogue pass-through function on the AVM60 forces me to ditch both the Fathom subs and ARC. I was only using ARC at 250Hz cutoff so this would only effect the lower frequencies and the Fathoms were crossed over very low (50hz). Luckily, the Revel Studio 2s have very respectable bass on their own so I'm just losing that lowest 1/2 octave, but things are a teeeeeny bit flabbier without ARC. Onwards to the mids. Clarity and depth would be two words that jump out. The micro dynamics of plucked acoustic guitar strings, bowed violins or piano note attacks are much more in evidence with the Brooklyn. The DAC set in the AVM60 is very respectable (especially for a H/T processor) but the Brooklyn is indeed in another league allowing you to hear deeper into this mix. Instruments appear to be better separated with less compression or "squeezing" of the soundstage into a 2D image in the front to back dimension. It does this without seeming to disconnect any instruments from the whole though, so high marks here. Instruments just seem to be allocated more of their own "space" in the presentation. The treble, however, is where this thing really takes off from the Anthem. This in fact may be what I'm really hearing when trying to describe the midrange. The speed and clarity this thing has is quite amazing (makes me wonder what REAL gear like DCS or MBL convertors could do). I have also spent some wasted years as a drummer and I'm very critical of cymbal and snare reproduction. The Brooklyn is amazing in this regard, especially considering its relatively reasonable price. The shimmer and attack - even at low listening volumes, is really impressive. I see you have the Sopra 2s so you know what those Be tweeters can do. Well, I have to tell you, the Brooklyn really moves them into a new realm. I can't imagine you being disappointed. Now, to address any pending issues of hyperbole, it is in fairness required to state that these are all matters of degrees, not night and day leaps of sonic fireworks. I try to judge equipment by the "would I notice if someone replaced it in the middle of the night back to the Anthem"? In this case, the answer is absolutely, the differences are significant enough which is more than I could say about a lot of equipment I have tried over the years. I think to really move up from the Mytek would require a significant monetary leap to something like a PS Audio Directstream or EMM labs unit. Both of these are three to four times the Brooklyn's asking price. On the used market, this is a pretty much a no brainer upgrade. Highly recommended! 3 out of 4 glasses of Shiraz! BTW, I have not tried any DSD files or MQA streams from Tidal yet.

Hi Spinaker,

A couple thoughts about both of our setups, which are surprisingly similar. After looking up the Bryston BDP-1 (I had never heard of that unit), I see that it handles up to 24/192, same as my Bluesound Node 2 source. I am also currently using the AVM60 with a 250hz ARC cutoff, have similar enough BE tweetered 3 way towers, and a pair of SVS 16 ultra sealed subs. Really, quite similar setups all things considered.

So, my first impression when reading your post is to ask if you had done testing back and forth between the Mytek unit and the AVM60 converters in a similar pass-through state? So in other words, AVM60's front crossover would be set to "off", as well as ARC processing set to off. Otherwise, it would be difficult to tell how much, if any, better the Mytek is.

You touched on a real struggle I have with my setup. That is, to ARC or not to ARC. Firstly, assuming ARC corrects at 96khz (so 48khz in actuality), any high-res file played through it will be dithered down to that...how cleanly is anyone's guess, but you certainly are leaving something from a 24/192 file on the table. Having said that, my room is a family room, and as such is far from perfect. Room correction makes a lot of sense in this regard, but losing so much resolution, especially since my Sopra 2's spec -3db at 40khz really stings. Maybe some would call me foolish, but I believe I can hear a difference between a 96khz file and 192khz file, as I've A/B'd the same tracks at either resolution before (going straight analogue through). So, score one for the Brooklynn in the resolution category, but maybe only because ARC and it's dithering down is not being implemented?

I would be remiss to not mention that I really do need subs in my room. It is a large room (4000 cu ft) and I listen to a lot of modern music. The pair of 7's in my Sopras are impressive for their size, but they're ultimately a pair of 7's in a relatively compact cabinet. I wonder, what is the size of your room?

So here's my thought about correction and subs, which partly comes from my pro audio days. I think I may forego automated room correction altogether and instead opt for a very high quality mastering EQ (like a Manley Massive Passive, which is -2 at 60khz and full of yummy parts) to correct the room. splitting the signal somewhere to send to the pair of subs. The SVS SB16 ultras already have a 3 band parametric EQ onboard, so that's nice.

Setting up like this, I can be confident that if I implement a great DAC like a Brooklyn, I get the full Monty to my speakers (most Monty anyway), my room is still EQ'd, and my subs still hit. The AVM 60 basically just passes through for multi channel routing. Hmmm...my wife will not be pleased with this plan, especially when she finds out what a Manley Massive Passive runs these days.

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post #6856 of 9745 Old 04-10-2018, 07:47 PM
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Quote:
Originally Posted by BarryDMartin View Post
This discussion on Emotiva not using the AES stand for its XLR wiring is not consistent with the information provided to me by Emotive support.

My Question:

"What is the wiring configuration for the XLR balanced connections on the XPA-7 Gen3 amplifier?

Is it the AES standard with pin 2 hot or is it the older USA configuration with pin 3 hot?"

Emotiva Response:

"Thank you for contacting us! Pin 2 is hot.

Please let us know if you have any further questions."


Based on this those of us who use Emotiva amplifiers don't have to worry about their speakers being out of phase. (Assuming your speaker connections are correct.)
Then maybe the next question to Emotiva is if the amplifier is inverting or non-inverting. In other words, how does it behave if we drive the RCA input? If it inverts there, then a "correctly wired XLR" will also produce an inverted output.

Here's a simple way to determine this at home -- if you have a dual trace oscilloscope, that is.

1) Take a single-ended signal. Connect it to the RCA input. Compare it to the output signal. Aside from ~30 dB gain, is the signal same or inverted? If same, then the amp is non-inverting.

2) Connect the same input signal to Pin 2. Compare to the output. Is it same as above? If so, then the amp is non-inverting.
If the output is opposite polarity, then connecting to the cold input Pin 3 will give you the same output as the RCA. That would confirm the XLR is wired backwards. XLR Pin 2 should operate the same as the RCA input.

No scope? Here's Plan B.
1) Connect a speaker across the hot outputs of two amp channels.
2) Drive the RCA of ch1 and Pin 2 of the input for channel 2. If the amp outputs are in phase, the speaker will have a low output.
3) Now change from Pin 2 to Pin 3 of the amp input. The output level will change. If it gets louder, that channel is now inverting.

If all this sounds confusing, do not attempt.
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post #6857 of 9745 Old 04-10-2018, 08:30 PM
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Quote:
Originally Posted by bigguyca View Post
The information on the XLR pinout comes from the measurements section of the Stereophile review of the product:



https://www.stereophile.com/content/...r-measurements



Your first step should be to read the entire measurements section. The subjective review is more interesting than most in Stereophile in that the reviewer had to search for speakers that matched the characteristics of the Emotiva Gen3.



Contacting John Atkinson is likely your best way to get this resolved, or perhaps others on this forum who have determined if the pinouts are to standard, that is pin 2 hot.


There can be more than one reason why an amplifier reverses polarity. It could be that the amplifier’s topology reverses polarity at the output.

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post #6858 of 9745 Old 04-11-2018, 04:28 PM
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Quote:
Originally Posted by RedlineRonin View Post
This is literally in direct conflict with what other posters are saying their customer service is telling people...

https://www.avsforum.com/forum/90-rec...l#post55609736


Btw I just got a note back from Emotiva today acknowledging that they got my question about the pinout and are doing some research to verify (presumably because I'm on a Gen 1 XPA 5 and they need to go dig up some specs or blueprints or w/e)

E: Got my note back from Anthem confirming standard pinout, so should be no issue with the Marantz and AVM60. Just need to figure out the Emotiva...

The original response from Emotiva Support that I received was not consistent with response to other posters and was inconsistent with the measured results in the Stereophile review of the Emotiva XPA-2 Gen3 amplifier. It was also inconsistent with Audyssey out-of-phase speaker results for other posters who had a non-Emotiva AVR/AVP (e.g.Marantz) going through an Emotiva amplifier.

My follow-up question to Emotiva Support pressed them for a more technical response and I also referred them to the Stereophile article. Below is the response I got last night.

Barry,

The Stereophile article is correct.

Compared to the current preferred wiring convention (I forget whether it's considered to be "the European one" or "the US one"), the unbalanced input on the XPA Gen3 amps preserves absolute phase while the balanced input inverts it.

However, to be honest, we simply don't consider this to be a big deal (even though some overly anxious audiophiles do).

- Very few people can actually detect the difference
- Modern recordings rarely preserve absolute phase anyway, and multitrack recordings often combine tracks with mismatched absolute phase
- Many speakers have a total phase shift of several hundred degrees over the audible frequency range
- The room correction systems in virtually all home theater equipment measure and correct phase along with distance
- If you REALLY worry about it, you can simply swap the (+) and (-) speakers at the speaker terminals (as long as you don't have active speakers). All speakers are balanced, so you can flip the phase by simply reversing the wires.
- If you REALLY wanted to you could swap pin 2 and pin 3 in the cable (I don't know if anyone makes ones intended for that purpose).

Keith Levkoff
Technical Guru
Emotiva Audio Corporation
615 790-6754
www.emotiva.com


These seems to be the definitive answer on this issue. For me I will be switching my speaker terminals coming out of the Emotiva. I have a separate Anthem amp for my ceiling speakers and I want the speakers all in phase relative each other.

Also, I guess that Emotiva considers me an "overly anxious audiophile".

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post #6859 of 9745 Old 04-11-2018, 04:41 PM
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Please take the emotiva discussion to it's own thread, an existing thread or PM.
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post #6860 of 9745 Old 04-12-2018, 06:42 AM
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AVM 60 + Revel F208/C208 Loudspeakers?

Is anyone here using their AVM 60 with Revel F208's, a C208, and some kind of Revel surrounds? If so, how do you like the combo? Are you using ARC in this environment? If so, how is that working out?

I'm considering a speaker upgrade, and at the moment, trying to understand if Anthem and Revel play nicely together.


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post #6861 of 9745 Old 04-12-2018, 07:08 AM
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Quote:
Originally Posted by Bill-99 View Post
Is anyone here using their AVM 60 with Revel F208's, a C208, and some kind of Revel surrounds? If so, how do you like the combo? Are you using ARC in this environment? If so, how is that working out?

I'm considering a speaker upgrade, and at the moment, trying to understand if Anthem and Revel play nicely together.

My setup is quite similar to what you are considering. The combination is excellent and there is a continuity or "house sound" within the Revel lines that makes mixing/matching them fairly painless. The ARC in the AVM60 is just the icing on the cake and brings everything into alignment for a harmonized soundfield. In short, they do indeed play well together. Enjoy.
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post #6862 of 9745 Old 04-12-2018, 07:16 AM
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Quote:
Originally Posted by Bill-99 View Post
Is anyone here using their AVM 60 with Revel F208's, a C208, and some kind of Revel surrounds? If so, how do you like the combo? Are you using ARC in this environment? If so, how is that working out?

I'm considering a speaker upgrade, and at the moment, trying to understand if Anthem and Revel play nicely together.
You should contact John Schuermann on the forum here, or at The Screening Room in Colorado. Being both an Anthem and Revel dealer, he may have tried this combo, or knows someone that has, might be able to give you some good feedback on that. My guess is yes, they do play nicely.
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7.2.4 System: Display: Sony XBR-65X930D; Processing: Anthem AVM60
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Quote:
Originally Posted by Jonas2 View Post
You should contact John Schuermann on the forum here, or at The Screening Room in Colorado. Being both an Anthem and Revel dealer, he may have tried this combo, or knows someone that has, might be able to give you some good feedback on that. My guess is yes, they do play nicely.
Hey Jonas,

How are you doing? You still liking your system?
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post #6864 of 9745 Old 04-12-2018, 10:13 AM
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Quote:
Originally Posted by Bill-99 View Post
Is anyone here using their AVM 60 with Revel F208's, a C208, and some kind of Revel surrounds? If so, how do you like the combo? Are you using ARC in this environment? If so, how is that working out?

I'm considering a speaker upgrade, and at the moment, trying to understand if Anthem and Revel play nicely together.
Quote:
Originally Posted by Jonas2 View Post
You should contact John Schuermann on the forum here, or at The Screening Room in Colorado. Being both an Anthem and Revel dealer, he may have tried this combo, or knows someone that has, might be able to give you some good feedback on that. My guess is yes, they do play nicely.
Yes, in fact he is currently running salon2's as well as revel surrounds and is more than happy with the marriage.

I personally run synthesis 4367's up front in my space and also find the pairing very nice.
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post #6865 of 9745 Old 04-12-2018, 10:49 AM
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Is the phase different on the balanced versus unbalanced outputs of the AVM60?

Or maybe more poignantly, am I able to used all balanced connections for the amplifiers and also the unbalanced LFE output? Or do I need to use XLR for the LFE output also?

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post #6866 of 9745 Old 04-12-2018, 11:27 AM
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Hey Jonas,

How are you doing? You still liking your system?
Oh yeah! Lovin' it!
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7.2.4 System: Display: Sony XBR-65X930D; Processing: Anthem AVM60
Mains:
Paradigm Prestige 85F and 55C; Side / Rear Surrounds: Totem Acoustic Tribe III / Tribe I; Amplification: D-Sonic M3a-2800-7 (7ch. x 400w)
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Definitive Technology DI8R; Amplification: Class D Audio SDS-470C (4ch. x 300w)
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2 x SVS-SB13Ultras; Media: Oppo UDP-203, Pioneer CLD-59
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post #6867 of 9745 Old 04-12-2018, 05:22 PM
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Decided to go mostly PSA speakers (MTM-210's FCR, MT110's Surrounds), JTR Slanted 8's Rear Back) and yesterday took delivery of a PSA T-18 sub replacing my Submersive HP (Amp upgrade). Ran ARC yesterday so here are the results.

I was pleased to see the T-18 measure better than the Submersive in the same spot. I have limited space so it can only go where it is but happy with how the system sounds. Bass extension is brilliant but only tried a couple of heavy bass BD tracks. Edge of Tomorrow was insane with the opening bass tone.

I need to create a profile for music as I found the treble a bit high for my liking so is there a way to permanently set the treble and have it set at the desired setting without having to use the remote to make the adjustment on the fly?
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post #6868 of 9745 Old 04-13-2018, 10:59 AM
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Statement D2V to AVM60 ARC

Recently moved from a D2V to AVM 60 and have been running ARC. Wihout changing speaker placement, room, or mic positions from D2V ARC1 to ARC2 measurements, getting some fairly significant differences in cutoff frequencies for mains and sub low pass filters. ARC is listing a sub cutoff of 190 Hz which pretty high compared to what I've see in ARC1 measurements. Also ARC with AVM 60 is suggesting a 1st order HPF in this run. Previous run with very similar mic placements suggested a 4th order. Detected room gain was similar between ARC1 and ARC2.

I share this not to criticize, just as interesting info. I am still adjusting targets and lstening for best combinations. Initial reaction is that subs are pretty well integrated with mains, but much more dominant than with D2V ARC settings, most likely because of the higher sub cutoff. Some comparison ARC graphs for interest or comments.

JVC DLA-X790R, Seymour AV Centerstage UF 2.40:1 tensioned electric screen w/ motorized masking, Anthem AVM 60, Jim Holtz Statements L/C/R, SVS SB-16 Ultra (X2), Oppo UDP-203, Parasound Halo A-21, Parasound Halo A-51, Bluesound Node 2i, miniDSP 2X4 HD, NVIDIA Shield 2015, QNAP 453Pro

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post #6869 of 9745 Old 04-14-2018, 09:35 AM
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Quote:
Originally Posted by adrummingdude View Post
Hi Spinaker,

A couple thoughts about both of our setups, which are surprisingly similar. After looking up the Bryston BDP-1 (I had never heard of that unit), I see that it handles up to 24/192, same as my Bluesound Node 2 source. I am also currently using the AVM60 with a 250hz ARC cutoff, have similar enough BE tweetered 3 way towers, and a pair of SVS 16 ultra sealed subs. Really, quite similar setups all things considered.

So, my first impression when reading your post is to ask if you had done testing back and forth between the Mytek unit and the AVM60 converters in a similar pass-through state? So in other words, AVM60's front crossover would be set to "off", as well as ARC processing set to off. Otherwise, it would be difficult to tell how much, if any, better the Mytek is.

You touched on a real struggle I have with my setup. That is, to ARC or not to ARC. Firstly, assuming ARC corrects at 96khz (so 48khz in actuality), any high-res file played through it will be dithered down to that...how cleanly is anyone's guess, but you certainly are leaving something from a 24/192 file on the table. Having said that, my room is a family room, and as such is far from perfect. Room correction makes a lot of sense in this regard, but losing so much resolution, especially since my Sopra 2's spec -3db at 40khz really stings. Maybe some would call me foolish, but I believe I can hear a difference between a 96khz file and 192khz file, as I've A/B'd the same tracks at either resolution before (going straight analogue through). So, score one for the Brooklynn in the resolution category, but maybe only because ARC and it's dithering down is not being implemented?

I would be remiss to not mention that I really do need subs in my room. It is a large room (4000 cu ft) and I listen to a lot of modern music. The pair of 7's in my Sopras are impressive for their size, but they're ultimately a pair of 7's in a relatively compact cabinet. I wonder, what is the size of your room?

So here's my thought about correction and subs, which partly comes from my pro audio days. I think I may forego automated room correction altogether and instead opt for a very high quality mastering EQ (like a Manley Massive Passive, which is -2 at 60khz and full of yummy parts) to correct the room. splitting the signal somewhere to send to the pair of subs. The SVS SB16 ultras already have a 3 band parametric EQ onboard, so that's nice.

Setting up like this, I can be confident that if I implement a great DAC like a Brooklyn, I get the full Monty to my speakers (most Monty anyway), my room is still EQ'd, and my subs still hit. The AVM 60 basically just passes through for multi channel routing. Hmmm...my wife will not be pleased with this plan, especially when she finds out what a Manley Massive Passive runs these days.


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post #6870 of 9745 Old 04-14-2018, 11:33 AM
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Quote:
Originally Posted by Bill-99 View Post
Is anyone here using their AVM 60 with Revel F208's, a C208, and some kind of Revel surrounds? If so, how do you like the combo? Are you using ARC in this environment? If so, how is that working out?



I'm considering a speaker upgrade, and at the moment, trying to understand if Anthem and Revel play nicely together.


Not quite the same but I’m running F52, C52, M106, C763L and I’m very happy! I’m using ARC with movies but Vega -Aries combo without ARC for 2 channel


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