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So question for you, Nick. How does ARC handle the calibration of the overhead speakers? Seeing as how the mic is calibrated for grazing incidence (90 degrees), more or less. Previously even the surrounds weren't far from being 90 degrees to the pointed-upward mic, but in/on ceiling speakers would be much closer to on-axis with the mic than any others. The simple solution is to pause the calibration at each position to reorient the mic before the overhead speakers are measured. There are also some obvious problems with doing this. Just wondering if this was looked into and if grazing incidence is important enough to change the the routine to maintain it for the overhead speakers.

The other question is whether the calibration takes into account the head-related transfer function frequency response profile essential to the effectiveness of the upfiring "Atmos-enabled" speakers if they are in use. I am confident the answer is yes, but just checkin' :)

Thanks.
 

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^ ARC always worked with ceiling speakers. (The ears are still on the sides of the head.)

Existing eq methods work with Dolby-enabled speakers as long as the profile they require isn't flattened. For simplicity the usual curve will appear in Targets with the Dolby part working behind the scenes. The room gain part already takes enough work to explain but it's displayed because it varies by room, and affects sub level.
 

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^ ARC always worked with ceiling speakers. (The ears are still on the sides of the head.)

I had assumed that the microphone's response would be quite different on-axis than it would be at 90 degrees, in the higher frequencies at least.


Existing eq methods work with Dolby-enabled speakers as long as the profile they require isn't flattened. For simplicity the usual curve will appear in Targets with the Dolby part working behind the scenes. The room gain part already takes enough work to explain but it's displayed because it varies by room, and affects sub level.

So the the HRTF-related notch in the desired FR of those speakers is implemented in the receiver independent of what ARC does then?
 

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^ Yes and no - if ARC is not in use, HRTF is applied as it appears on paper. If ARC is in use, HRTF is applied in conjunction with room eq which in this case targets HRTF instead of flat response. In other words if measured response doesn't match HRTF, ARC makes it match.
 

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That's what I thought, and as I understand it that's how other room EQ devices handle it as well.

Is the ARC mic so indifferent to angle of incidence that a speaker can fire at it anywhere from 90 degrees to 0 degrees and the resulting correction will be virtually the same?
 

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Is the ARC mic so indifferent to angle of incidence that a speaker can fire at it anywhere from 90 degrees to 0 degrees and the resulting correction will be virtually the same?
I'd worry more about how the speakers perform over such a wide angle of incidence than I would be concerned about the ARC mike, which should be a fairly decent omnidirectional variant.
 

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FWIW, here are grazing and axial incidence calibration curves for a microphone (Dayton EMM-6) that uses a similar capsule to the Anthem ARC mike. (I never got my ARC mike calibrated, because for anything other than ARC a mike connected to a 2-channel sound card for loopback correction is a better way to go.)

 

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That's not bad really. Less than 1 dB variaton from 5 kHz on down, and 5 kHz is the maximum EQ frequency for ARC on the MRX. I guess I can stop worrying about it. :)
 

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Will the new “AVMRX” product family have enough DSP horsepower to apply Dolby Volume to Atmos/DTS:X material?

I just saw in the Yamaha thread that their AVRs don’t have enough DSP for simultaneous loudness compensation and Atmos, and since my “next box” choice is basically between an MRX 720 and Yamaha 3050* I’m curious if Anthem will have the same handicap.

*Yamaha kept Dolby Pro Logic II, which I find useful because I think DSU handles music badly.
 

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^ Dolby Atmos + Dolby Volume is working. dtsX decoding isn't available yet so the only sure answer there is that the new models are dtsX Ready (there's a logo for that).
 

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Nick, what would be the reason to get a AVM60 as opposed to a 1120? Besides the obvious lack of amps and XLR outputs does the AVM have any advantage in terms of processing? Audio? Or is it just for people who already have power amps and just need a processor? If this was covered already I apologize. I went through the 4 pages pretty quickly.
 

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Hello all,


Don't think I've missed this but when are the official announcements for release in the US and more importantly for me in Europe likely to be? (maybe a question for Nick @anthem) by the way nick, who is the best person to speak to regarding anthem related questions in the UK maybe your counterpart that I can invite onto my usual forum @avforums? any advice would be appreciated!
 

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That's the default. A pair of heights may be reassigned to zone 2.



Curent-gen switches from and scales to 4K24 / 4K30. Next-gen adds 4K50 / 4K60 switching but there's no scaling of any sort. The scaling chip is still there on the side as a source of OSD graphics which the new HDMI interface can blend with the input. The following are supported - keep in mind this is preliminary info but I see nothing to stop these features:

HDMI 2.0a
HDCP 2.2
On-Screen Display with UHD 4K 50/60
4:4:4 Chroma Subsampling at 4K60 (18.2 Gbps)
High Dynamic Range (HDR) - unverified, test spec pending
21:9 Aspect Ratio
BT.2020 Color
While I'm really interested because of ARC, this is nice. Awaiting US pricing and availability and I just hope there is a model within my price range...
 

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For most part everything sounds great regarding avm60, i like the "less is more" technical aspect of it. Anthem seems to focus where it counts.

But i would really like the avm60 to offer 2 more channels. We all know that there will be 9.1.4 processors next year, nothing wrong with 7.1.4 but 9.1.4 would be at least in my mind, a more "flexible" and "complete" solution for dedicated rooms. Personaly i will "miss" 2 more channels.
 
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