Thread Starter Joined Dec 31, Messages Likes I set out to produce a set of proof of concept measurements with the methodology i suggested before. My hypothesis was that you would see a meaningfully higher SPL from the microphone when placed on the side closest to the speaker while playing a tone from a typical left speaker angle.
When repeating the measurements from dead center, the difference between left and right microphone placements would disappear. I played a Hz tone through the left speaker, and measured the SPL on the left and right side of a dummy head a rubber ball.
I repeated this measurement two times, alternating sides for each pass, and compared the recorded SPLs from 5ss so the measurement was settled in. I then did the same thing with a speaker centered with the ball.
These were not expected to get highly repeatable measurements because the microphone was simply placed by hand on a cushion, and I wanted to see results before fussing around with a test rig.
As you can see in the results, left ear is distinctly louder than right ear on the 60 degree measurements. When placed at 90 degrees, the measurements are closely bunched. I consider this validation of the hypothesis that the amplitude contribution to localization could be easily measured.
To improve the design, this would be much better if performed with simultaneous dual channel measurements. As well, a consistent test rig would be needed for the repeatability necessary to compare results from one pass to the next.
Lastly, a more realistic dummy head would make for a better representation of the head transfer function of the measurements. Finally, I would be very interested to perform a similar test with phase comparison - alas, this will definitely require dual channel measurement. I'll think about whether or not I'm motivated to go out and get the equipment necessary to take this further.
A final touch was a RoomTune panel placed along each side wall, about a foot forward from the speaker, with the absorbent side facing the room, to catch some of the early reflections. With a 92" center-to-center distance between speakers and about the same distance or less between the listener's ears and the center of each speaker, the soundstage is super-wide although there's no problem with center-fill , and depth seems restricted only by the size of the recording venue.
This was my favored listening position, but I should admit if it's not already obvious that I like a very wide soundstage; in most audio store demonstrations, I pull my chair closer to the speakers. Many speakers make it impossible to achieve this sort of stage width unless you're willing to put up with a hole in the middle; sitting this close also tends to highlight lobing effects and arrival-time differences between drivers, with potential imaging problems.
Individual images within the soundstage don't have quite the pinpoint "holographic" definition you get with the best minimonitors, but they're excellent by any other standard. In a larger room, being able to sit farther from the speakers while maintaining a wide angle is likely to improve the imaging.
Similarly, depth is extensive and, unlike what one tends to get from dipoles or bipolar speakers, quite precisely layered. I understand that Corey Greenberg is willing to trade his entire Elvis collection for a mint copy of the original release of the Weavers album plus an autographed picture of Amanda McBroom.
The "Mapping the Soundstage" track on Stereophile 's Test CD 2 reproduced just the way it's pictured in the notes but with Larry moving away from the listener, of course. With this test, I got quite a good "outside" image on the left, but the outside image on the right was phasey.
The right outside image is similarly phasey with the Quads; this almost certainly represents a room anomaly. The dipole midrange is undoubtedly a contributor to this effect. My usual listening position places my ears at a height of 38", well off the tweeter and midrange axes.
You will now be testing your stereo system and room acoustics for correct imaging. If you have any problem reproducing the LEDR test, look for interfering room surfaces in the direction of the distortion. UP paths, Left and Right. The sound should begin at about eye level and then travel as straight as possible up to one or two meters above the loudspeaker. Use the Left and Right paths to check for symmetry.
The difference in response from each speaker both in amplitude and amount of correction required to deal with phase differences was v small.
The other notable artefact was how the surrounds needed relatively little correction which, in retrospect, is unsurprisingly as they are much closer and hence we are sitting more in the direct sound field. The end result is pretty impressive it has to be said. I think this just reflects a change in the spectral balance across the full range as to any fundamental change in the system, I imagine that such changes will narrow over time as I hone in on a particular target my preference setup.
I might change this thread to encompass video as the next step will be to dial in the video calibration. Jriver has just upgraded to the latest madvr which makes the NNEDI3 algorithm available amongst a bunch of other enhancements which I've been waiting for for a few months.
Black levels are well off at the moment it's all a bit grey, I haven't attempted to calibrate at all but I fully expect to be amazed once I get the 3D LUT going will be trying this myself first in the next few weeks to confirm reliability before getting Gordon Convergent AV in to do it properly. I thought it might be worth posting the workflow for a 5.
Once you get into the swing of it, it's actually a fair bit easier than it looks but it's certainly not for the faint of heart Note this ignores linearisation of a individual drivers and time alignment of different drivers in a single channel. Details of that method are on computeraudiophile. Whereas in a 5. Acourate does not do this for you as of today.
Step 6: Create convolution cfg files for 5. I set everything to resample to 96kHz 1 Create a zone for av playback 2 Open the DSP studio and set the following - Set output format to 5. Obviously the final step is to listen to see if it is any good. Last edited: May 4, So, is it? Any good, that is. Last edited: Jul 22, Wookii Well-known Member.
Thanks for the link over on AVS to this thread Matt. Having only discovered this software today I am only just scratching the surface. Do you have any links to basic laymans start up guides for simple 2.
You also mention that the guy who developed the software Uli is it? What's new New posts Latest activity. Members Current visitors. Log in Register. Search titles only. Search Advanced search…. New posts. Search forums. Log in.
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