KeithL
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Post by KeithL on Feb 9, 2023 9:49:36 GMT -5
Basically, as per Dolby, if you only have one pair of Height speakers, they are just "your height channels", regardless of where they're physically located (I believe they're called "middles"). Mine arrived late last night. Did the speaker and XPA-5 connections but didn't have a chance to run EMO-Q. Question for you all because I honestly don't know: Can a 7.2.2 configuration have either Front or Rear Height channels or is a 7.2.2 configuration only referring to 7 bed channels, 2 subwoofers, and 2 Front height channels only? Can those height channels be rear height channels? |
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Post by akcorr on Feb 9, 2023 10:00:47 GMT -5
Basically, as per Dolby, if you only have one pair of Height speakers, they are just "your height channels", regardless of where they're physically located (I believe they're called "middles"). Mine arrived late last night. Did the speaker and XPA-5 connections but didn't have a chance to run EMO-Q. Question for you all because I honestly don't know: Can a 7.2.2 configuration have either Front or Rear Height channels or is a 7.2.2 configuration only referring to 7 bed channels, 2 subwoofers, and 2 Front height channels only? Can those height channels be rear height channels? Does it matter where I connect them to on the MR1? Rear or Front Height? |
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KeithL
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Post by KeithL on Feb 9, 2023 10:13:57 GMT -5
That makes sense to me. It's difficult to get cymbals to sound right. However, while cymbals sound very loud, I doubt they're actually using much actual continuous power... In real life a single really hard "cymbal crash" tends to have a really high really short transient... What follows is still loud, but is actually at a much lower power level... And then finally (hopefully) trails off gracefully... That initial transient crash tends to be really loud and can be quite difficult to record cleanly... But, most of the time, cymbals end up getting "tamed" in production to make them easier to reproduce (and still hopefully sound good). I'll admit that I haven't heard that album (but I looked it up  ). That album was produced back in 1973 - and released on vinyl. Therefore we KNOW that the cymbals weren't especially loud. Vinyl simply will not ALLOW very high levels at high frequencies... If you tried you'd either overload the lathe or bounce the needle right out of the groove when someone tried to play it... And, even on the best tape mastering recorders, it was a good idea to avoid really high levels at really high frequencies... (In other words, someone did some really careful work to get the cymbals to sound good, without causing... problems.) However, to be fair, I wouldn't expect a good modern amp to have much trouble with them. However... Many DACs seem to have trouble getting the "metallic overtones" of cymbals to sound quite right (and like actual metal). So they're a great thing to use when auditioning DACs. Many speakers don't do so great with cymbals either. (But I would say they're one of the things where folded ribbons really shine...) To be fair, if you've got a 100 watt amp, the occasional clipped single drumbeat, or pistol shot, is probably not going to be especially audible anyway. (It's a single, very short, transient waveform... and it's almost certainly already been crushed by a peak limiter during production anyway.) The cymbal "crash" is a sort of "sustained peak" sound I use for amplifier listening tests and my speakers, such as can be found on Billy Cobham's Spectrum album. When they sound smooth, life is good. When they sound harsh or painful, I need go no further with the amp in question. |
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KeithL
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Post by KeithL on Feb 9, 2023 10:27:32 GMT -5
When you pick an x.x.2 setup the one pair of heights get connected to the Front Height outputs. You actually get a popup box that tells you this... but it only displays the first time you pick it. (If you go out of that Speaker menu, and back in again, and pick it again, you'll get the hint again.) Basically, as per Dolby, if you only have one pair of Height speakers, they are just "your height channels", regardless of where they're physically located (I believe they're called "middles"). Does it matter where I connect them to on the MR1? Rear or Front Height? |
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Post by marcl on Feb 9, 2023 12:00:13 GMT -5
That makes sense to me. It's difficult to get cymbals to sound right. However, while cymbals sound very loud, I doubt they're actually using much actual continuous power... In real life a single really hard "cymbal crash" tends to have a really high really short transient... What follows is still loud, but is actually at a much lower power level... And then finally (hopefully) trails off gracefully... That initial transient crash tends to be really loud and can be quite difficult to record cleanly... But, most of the time, cymbals end up getting "tamed" in production to make them easier to reproduce (and still hopefully sound good). I'll admit that I haven't heard that album (but I looked it up ). That album was produced back in 1973 - and released on vinyl. Therefore we KNOW that the cymbals weren't especially loud. Vinyl simply will not ALLOW very high levels at high frequencies... If you tried you'd either overload the lathe or bounce the needle right out of the groove when someone tried to play it... And, even on the best tape mastering recorders, it was a good idea to avoid really high levels at really high frequencies... (In other words, someone did some really careful work to get the cymbals to sound good, without causing... problems.) However, to be fair, I wouldn't expect a good modern amp to have much trouble with them. However... Many DACs seem to have trouble getting the "metallic overtones" of cymbals to sound quite right (and like actual metal). So they're a great thing to use when auditioning DACs. Many speakers don't do so great with cymbals either. (But I would say they're one of the things where folded ribbons really shine...) The cymbal "crash" is a sort of "sustained peak" sound I use for amplifier listening tests and my speakers, such as can be found on Billy Cobham's Spectrum album. When they sound smooth, life is good. When they sound harsh or painful, I need go no further with the amp in question. I heard Billy play live with that band in '73. A small club near Philly called The Main Point. I was about 15ft from the stage. He could clip your ears without an amp! I walked up after the show to look at his drums (which took up the entire normal stage) and there was quite a bit of splintered lumber on the floor. Good points about the limited dynamic range of that and any other albums recorded on tape and sold on vinyl. I have a 96/24 FLAC reissue of it, but still made from an analog tape master for sure.  Still ... what ttocs says makes sense in comparing components. For whatever reason one component could render the cymbals with distortion while another would not. Is it fair to say, though, that the need for an amp to deliver high current in short bursts for BASS transients is a legitimate area to differentiate one amp from another? With my Maggies, I definitely heard a difference in bass transients when I went from an Outlaw 300W Class A/B amp to a 700W Hypex amp. p.s. I used to play along with that record. I never managed the triplets on the bass drums for Quadrant 4, but I had a way to do it with dotted eighth-sixteenths between my feet and quarter note triplets on the snare. Kicked my ass!. |
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ttocs
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Post by ttocs on Feb 9, 2023 12:34:45 GMT -5
That makes sense to me. It's difficult to get cymbals to sound right. However, while cymbals sound very loud, I doubt they're actually using much actual continuous power... In real life a single really hard "cymbal crash" tends to have a really high really short transient... What follows is still loud, but is actually at a much lower power level... And then finally (hopefully) trails off gracefully... That initial transient crash tends to be really loud and can be quite difficult to record cleanly... But, most of the time, cymbals end up getting "tamed" in production to make them easier to reproduce (and still hopefully sound good). I'll admit that I haven't heard that album (but I looked it up ). That album was produced back in 1973 - and released on vinyl. Therefore we KNOW that the cymbals weren't especially loud. Vinyl simply will not ALLOW very high levels at high frequencies... If you tried you'd either overload the lathe or bounce the needle right out of the groove when someone tried to play it... And, even on the best tape mastering recorders, it was a good idea to avoid really high levels at really high frequencies... (In other words, someone did some really careful work to get the cymbals to sound good, without causing... problems.) However, to be fair, I wouldn't expect a good modern amp to have much trouble with them. However... Many DACs seem to have trouble getting the "metallic overtones" of cymbals to sound quite right (and like actual metal). So they're a great thing to use when auditioning DACs. Many speakers don't do so great with cymbals either. (But I would say they're one of the things where folded ribbons really shine...) The cymbal "crash" is a sort of "sustained peak" sound I use for amplifier listening tests and my speakers, such as can be found on Billy Cobham's Spectrum album. When they sound smooth, life is good. When they sound harsh or painful, I need go no further with the amp in question. Yes, but . . . . ("Everybody's got a big but", Peewee Herman, Peewee's Big Adventure) With electrostatic speakers, the cymbals are a challenge for amps that aren't happy with high frequency/low impedance. It's always sumthin', ain't it Keith? |
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Post by leonski on Feb 9, 2023 12:56:45 GMT -5
To be fair, if you've got a 100 watt amp, the occasional clipped single drumbeat, or pistol shot, is probably not going to be especially audible anyway. (It's a single, very short, transient waveform... and it's almost certainly already been crushed by a peak limiter during production anyway.) The cymbal "crash" is a sort of "sustained peak" sound I use for amplifier listening tests and my speakers, such as can be found on Billy Cobham's Spectrum album. When they sound smooth, life is good. When they sound harsh or painful, I need go no further with the amp in question. What I'll bet as much as 200 Pesos is happening with your test? (a good one, too) is that the amp in question is not 'capable' into the load of your 'Stats at those output levels and frequencies involved with your cymbal 'Crash'...... I don't know about your particular model, but 'Stats in general get weird for the highest octave......electrically, that is....from 10khz to 20khz..... |
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ttocs
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Post by ttocs on Feb 9, 2023 13:13:22 GMT -5
The cymbal "crash" is a sort of "sustained peak" sound I use for amplifier listening tests and my speakers, such as can be found on Billy Cobham's Spectrum album. When they sound smooth, life is good. When they sound harsh or painful, I need go no further with the amp in question. What I'll bet as much as 200 Pesos is happening with your test? (a good one, too) is that the amp in question is not 'capable' into the load of your 'Stats at those output levels and frequencies involved with your cymbal 'Crash'...... I don't know about your particular model, but 'Stats in general get weird for the highest octave......electrically, that is....from 10khz to 20khz..... There are plenty of amps that fail the test. The amps I've got now all work great, with the Duo 300 XD being the best I've owned. One amp that deserves a special mention here is the Emotiva HC-1, which does quite well with the cymbal test! It was almost indiscernible between a pair of HC-1 amps and my Krell S-1500. But since the HC-1's weren't an improvement, which I was hoping they would be since they are mono amps and the S-1500 is multi-channel, I begrudgingly sent them back. The HC-1 pair presented a slightly better soundstage, and virtually the same smoothness as the S-1500, but in the end it was pretty much a draw - which to me says a lot about how good they are. But unlike in baseball where the tie goes to the runner, in this case the tie goes to what didn't cost extra to keep. |
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Post by tchaik on Feb 9, 2023 14:06:40 GMT -5
And here we go again. Denon is introducing a new flagship receiver for $6500.00! Yeah okay great, they are doing some good things, but how does that stack with the fact I can get 3 MR-1s for that and pocket some change. Emotiva is holding the for what counts, and doing it right. Denon wants to do the right thing too, but $6500.00 is what it will cost you. Talk about a false economy there. Score another for the MR-1. I took a quick look at the specs and Denon gives 150 watts at 8 ohms, 2 channels driven and more power at 6 ohms. no info for all 15 channels driven or amount of power at 4 ohms. even at that price they are still playing games with the specs. sheesh!!!!  |
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KeithL
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Post by KeithL on Feb 9, 2023 14:31:55 GMT -5
First of all, as a few folks have noted, Ttocs has electrostatics, which do tend to have an impedance that drops at high frequencies... And, because they generally add transformers into that mix, electrostatics are notorious for being difficult to drive at high frequencies... So they do seem to be a problem for many amps. I would also mention that this would make me especially concerned with a Class-D amp. Like DACs, Class-D amps generally have some sort of reconstruction filter (a low pass filter) directly on their output. And, while many Class-D amps are quite tolerant of load impedance, some of them act oddly when run into reactive loads. This leads me to suspect that some of them probably wouldn't be happy at all with electrostatics. Now... for BASS transients. In general, if an amp was going to have trouble with bass transients, I would expect it to be with speakers with big magnets and heavy woofer cones. The amp needs to provide plenty of current to accelerate that heavy cone and then needs to sink plenty of current to decelerate it to prevent it from overshooting or ringing. Once that heavy driver gets moving it has a lot of momentum. At that point the speaker is acting like a generator rather than a motor... and generates back-EMF. The amplifier "controls" the driver, by providing braking force, by sinking the current generated by that back EMF. You apply braking force, or load, to a generator, by sinking or shorting the current it is putting out. The amp may be "sinking the current" or "actively cancelling it" - the details get dicey because, with feedback, you have a sort of "active virtual output impedance". (But, however you look at it, if the amplifier cannot handle it, you're going to get distortion, and weak or sloppy sounding bass.) HOWEVER, since Maggies don't have a big heavy woofer, and in fact their diaphragm has relatively low inertia, I would NOT expect this to be at all an issue with them. Likewise their impedance doesn't do anything strange at low frequencies for any other reason as far as I know. This makes me kind of suspect that it's simply a matter of Maggies needing a lot of power to play reasonably loudly... They're rather inefficient to begin with... And, being dipoles, they're going to naturally experience a significant roll-off in the low bass... Which means that they're going to sound a bit bass shy - unless you add a bit of bass boost using EQ... And remember that 3 dB of boost, which doesn't sound like much, is going to double the power the amp has to deliver... So, considering all that, I suspect it just plain takes a LOT of amplifier power to get "nice solid punchy low bass" out of Maggies... And good solid bass transients do require a significant amount of power to deliver properly to begin with... (I know that, when we had a pair of Maggies here, we managed to light ALL the LEDs on a pair of XPR amps... and nobody was covering their ears and running for the door.) I suspect that you were just plain hearing the fact that the Hypex amp was a lot more powerful than the Outlaw amp. That makes sense to me. It's difficult to get cymbals to sound right. However, while cymbals sound very loud, I doubt they're actually using much actual continuous power... In real life a single really hard "cymbal crash" tends to have a really high really short transient... What follows is still loud, but is actually at a much lower power level... And then finally (hopefully) trails off gracefully... That initial transient crash tends to be really loud and can be quite difficult to record cleanly... But, most of the time, cymbals end up getting "tamed" in production to make them easier to reproduce (and still hopefully sound good). I'll admit that I haven't heard that album (but I looked it up ). That album was produced back in 1973 - and released on vinyl. Therefore we KNOW that the cymbals weren't especially loud. Vinyl simply will not ALLOW very high levels at high frequencies... If you tried you'd either overload the lathe or bounce the needle right out of the groove when someone tried to play it... And, even on the best tape mastering recorders, it was a good idea to avoid really high levels at really high frequencies... (In other words, someone did some really careful work to get the cymbals to sound good, without causing... problems.) However, to be fair, I wouldn't expect a good modern amp to have much trouble with them. However... Many DACs seem to have trouble getting the "metallic overtones" of cymbals to sound quite right (and like actual metal). So they're a great thing to use when auditioning DACs. Many speakers don't do so great with cymbals either. (But I would say they're one of the things where folded ribbons really shine...) I heard Billy play live with that band in '73. A small club near Philly called The Main Point. I was about 15ft from the stage. He could clip your ears without an amp! I walked up after the show to look at his drums (which took up the entire normal stage) and there was quite a bit of splintered lumber on the floor. Good points about the limited dynamic range of that and any other albums recorded on tape and sold on vinyl. I have a 96/24 FLAC reissue of it, but still made from an analog tape master for sure. View AttachmentStill ... what ttocs says makes sense in comparing components. For whatever reason one component could render the cymbals with distortion while another would not. Is it fair to say, though, that the need for an amp to deliver high current in short bursts for BASS transients is a legitimate area to differentiate one amp from another? With my Maggies, I definitely heard a difference in bass transients when I went from an Outlaw 300W Class A/B amp to a 700W Hypex amp. p.s. I used to play along with that record. I never managed the triplets on the bass drums for Quadrant 4, but I had a way to do it with dotted eighth-sixteenths between my feet and quarter note triplets on the snare. Kicked my ass!. |
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Post by leonski on Feb 9, 2023 16:06:47 GMT -5
It is a MYTH that Maggies are a 'difficult load'. As Keith notes? Maggies are Low Mass.....and VERY low sensitivity.
Magnepan uses some 'futzing' to get what looks like a reasonable but low number....but when you take a closer look?
Sensitivity is at least 3db lower than listed and questionable across the frequency band.....
This means that while they are an 'easy' load, in general, the amp simply Better bring the goods.......
I've driven a pair with 80x2 4ohm watts from a late 70's Kenwood Integrated......
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Post by MusicHead on Feb 9, 2023 18:24:19 GMT -5
And here we go again. Denon is introducing a new flagship receiver for $6500.00! Yeah okay great, they are doing some good things, but how does that stack with the fact I can get 3 MR-1s for that and pocket some change. Emotiva is holding the for what counts, and doing it right. Denon wants to do the right thing too, but $6500.00 is what it will cost you. Talk about a false economy there. Score another for the MR-1. I took a quick look at the specs and Denon gives 150 watts at 8 ohms, 2 channels driven and more power at 6 ohms. no info for all 15 channels driven or amount of power at 4 ohms. even at that price they are still playing games with the specs. sheesh!!!! Denon/Marantz used to have a "70% guarantee" on power, meaning that in a 5-ch, all channels driven configuration their AVRs would deliver at least 70% of the 2-ch power rating. Not sure they still follows this self-imposed rule. I am afraid we'll have to wait for Audioholics or AVS to run actual tests. It is also true that in a real listening situation the chances to drive all channels simultaneously at their rated power is virtually nil. Disclosing such rating though, would help in assessing the power supply capability. |
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Post by leonski on Feb 9, 2023 20:08:43 GMT -5
I took a quick look at the specs and Denon gives 150 watts at 8 ohms, 2 channels driven and more power at 6 ohms. no info for all 15 channels driven or amount of power at 4 ohms. even at that price they are still playing games with the specs. sheesh!!!! Denon/Marantz used to have a "70% guarantee" on power, meaning that in a 5-ch, all channels driven configuration their AVRs would deliver at least 70% of the 2-ch power rating. Not sure they still follows this self-imposed rule. I am afraid we'll have to wait for Audioholics or AVS to run actual tests. It is also true that in a real listening situation the chances to drive all channels simultaneously at their rated power is virtually nil. Disclosing such rating though, would help in assessing the power supply capability. Unless the amp requires a 120 / 20 amp service.....you are limited as to possible maximum output power. That power is long term input power MINUS an efficiecy penalty of maybe 50%, give or take. Long term 15amp service is only 1400 or so watts, long term AFTER deducting the 20%. 20 amp service just ups the game, but not the essential outcome. This is why more efficient 'D' amps are gaining ground and 'switcher' PS has some advantages as well......But still and all? You're up against the wall of Physics. ALL 15 channels driven @4ohms? 50 or 60 per would be all you could EVER expect. |
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Post by MusicHead on Feb 9, 2023 20:31:16 GMT -5
Denon/Marantz used to have a "70% guarantee" on power, meaning that in a 5-ch, all channels driven configuration their AVRs would deliver at least 70% of the 2-ch power rating. Not sure they still follows this self-imposed rule. I am afraid we'll have to wait for Audioholics or AVS to run actual tests. It is also true that in a real listening situation the chances to drive all channels simultaneously at their rated power is virtually nil. Disclosing such rating though, would help in assessing the power supply capability. Unless the amp requires a 120 / 20 amp service.....you are limited as to possible maximum output power. That power is long term input power MINUS an efficiecy penalty of maybe 50%, give or take. Long term 15amp service is only 1400 or so watts, long term AFTER deducting the 20%. 20 amp service just ups the game, but not the essential outcome. This is why more efficient 'D' amps are gaining ground and 'switcher' PS has some advantages as well......But still and all? You're up against the wall of Physics. ALL 15 channels driven @4ohms? 50 or 60 per would be all you could EVER expect. The 70% guarantee was/is applied to only 5-ch, regardless of how many total channels the AVR has, and refers only to the power over 8 Ohms. In the case of this new Denon AVR, 70% of 150W is 105W. Multiplied by 5 you get 525W, well within the realm of reality. Of course driving all 15 channels would yield a MUCH lower power, most likely what you estimated, if not less. But again, unless one use an amp to feed 8 Ohm resistors through each channel simultaneously and drive it with 20-20kHz broadband noise, just for fun, having all channels capable of delivering gobs of power simultaneously is not required in real life. Personally, I'd rather like to see a multichannel AVR (or even amp) designed and specified with the rated power over 3-ch (for LCR use), over 8 Omhs, all channels driven, possibly with the ability to double the power over 4 Ohms and all other channels dedicated to surround duty designed and rated for lower power. In any case, kudos to Emotiva for specifying power also with all-channels driven. That says a lot about the overall capability of the power supply and its ability to sustain dynamic peaks in a real life scenario. |
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Post by leonski on Feb 9, 2023 21:11:15 GMT -5
Unless the amp requires a 120 / 20 amp service.....you are limited as to possible maximum output power. That power is long term input power MINUS an efficiecy penalty of maybe 50%, give or take. Long term 15amp service is only 1400 or so watts, long term AFTER deducting the 20%. 20 amp service just ups the game, but not the essential outcome. This is why more efficient 'D' amps are gaining ground and 'switcher' PS has some advantages as well......But still and all? You're up against the wall of Physics. ALL 15 channels driven @4ohms? 50 or 60 per would be all you could EVER expect. The 70% guarantee was/is applied to only 5-ch, regardless of how many total channels the AVR has, and refers only to the power over 8 Ohms. In the case of this new Denon AVR, 70% of 150W is 105W. Multiplied by 5 you get 525W, well within the realm of reality. Of course driving all 15 channels would yield a MUCH lower power, most likely what you estimated, if not less. But again, unless one use an amp to feed 8 Ohm resistors through each channel simultaneously and drive it with 20-20kHz broadband noise, just for fun, having all channels capable of delivering gobs of power simultaneously is not required in real life. Personally, I'd rather like to see a multichannel AVR (or even amp) designed and specified with the rated power over 3-ch (for LCR use), over 8 Omhs, all channels driven, possibly with the ability to double the power over 4 Ohms and all other channels dedicated to surround duty designed and rated for lower power. In any case, kudos to Emotiva for specifying power also with all-channels driven. That says a lot about the overall capability of the power supply and its ability to sustain dynamic peaks in a real life scenario. I get where you're coming from and mostly agree. But to get a LOT of power....especially doubling into 4ohm would require a PS that 2 people would need to move. I would LOVE to see a 2- piece RECEIVER. #1? 40lb of PS or more. 1200va Transformer, lots of capacitance and running at a fairly high voltage. #2. Switching and outputs. And all the knobs...... |
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Post by MusicHead on Feb 9, 2023 21:30:30 GMT -5
The 70% guarantee was/is applied to only 5-ch, regardless of how many total channels the AVR has, and refers only to the power over 8 Ohms. In the case of this new Denon AVR, 70% of 150W is 105W. Multiplied by 5 you get 525W, well within the realm of reality. Of course driving all 15 channels would yield a MUCH lower power, most likely what you estimated, if not less. But again, unless one use an amp to feed 8 Ohm resistors through each channel simultaneously and drive it with 20-20kHz broadband noise, just for fun, having all channels capable of delivering gobs of power simultaneously is not required in real life. Personally, I'd rather like to see a multichannel AVR (or even amp) designed and specified with the rated power over 3-ch (for LCR use), over 8 Omhs, all channels driven, possibly with the ability to double the power over 4 Ohms and all other channels dedicated to surround duty designed and rated for lower power. In any case, kudos to Emotiva for specifying power also with all-channels driven. That says a lot about the overall capability of the power supply and its ability to sustain dynamic peaks in a real life scenario. I get where you're coming from and mostly agree. But to get a LOT of power....especially doubling into 4ohm would require a PS that 2 people would need to move. I would LOVE to see a 2- piece RECEIVER. #1? 40lb of PS or more. 1200va Transformer, lots of capacitance and running at a fairly high voltage. #2. Switching and outputs. And all the knobs...... Well, the MR-1 is almost there, with a 1,000VA transformer. Not many knobs, though 😆 |
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Post by akcorr on Feb 9, 2023 22:19:28 GMT -5
Ran through my MR1 setup tonight. I ran through a couple of movies and music that I am very familiar with and compared them to my old Pioneer Elite and Yamaha receivers. Great wide sound stage, very good clarity from rear and height channels, better separation, and more bass than you can handle!! I actually had my subs at around 11 o'clock and turned them down to 9:30-10 and ran through EMO-Q again. I think I have them dialed in pretty good.
The only issue comes from my Roku device plugged into the receiver. Not sure if there's a setting similar to the HDR setting on the GUI in the Apple TV that balthazar2k4 experienced but the picture cuts out for a quick second and comes right back. Not having that issue on my PS4, Cable Box, or my BD player. Only the Roku. I'm going to switch HDMI ports with my BD and see if it continues.
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Post by MusicHead on Feb 9, 2023 22:35:13 GMT -5
Ran through my MR1 setup tonight. I ran through a couple of movies and music that I am very familiar with and compared them to my old Pioneer Elite and Yamaha receivers. Great wide sound stage, very good clarity from rear and height channels, better separation, and more bass than you can handle!! I actually had my subs at around 11 o'clock and turned them down to 9:30-10 and ran through EMO-Q again. I think I have them dialed in pretty good. The only issue comes from my Roku device plugged into the receiver. Not sure if there's a setting similar to the HDR setting on the GUI in the Apple TV that balthazar2k4 experienced but the picture cuts out for a quick second and comes right back. Not having that issue on my PS4, Cable Box, or my BD player. Only the Roku. I'm going to switch HDMI ports with my BD and see if it continues. What is the setting of the "Display Type" in the Roku? If it is "Auto" have you tried to set manually to your preferred resolution? |
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Post by akcorr on Feb 9, 2023 23:07:43 GMT -5
Ran through my MR1 setup tonight. I ran through a couple of movies and music that I am very familiar with and compared them to my old Pioneer Elite and Yamaha receivers. Great wide sound stage, very good clarity from rear and height channels, better separation, and more bass than you can handle!! I actually had my subs at around 11 o'clock and turned them down to 9:30-10 and ran through EMO-Q again. I think I have them dialed in pretty good. The only issue comes from my Roku device plugged into the receiver. Not sure if there's a setting similar to the HDR setting on the GUI in the Apple TV that balthazar2k4 experienced but the picture cuts out for a quick second and comes right back. Not having that issue on my PS4, Cable Box, or my BD player. Only the Roku. I'm going to switch HDMI ports with my BD and see if it continues. What is the setting of the "Display Type" in the Roku? If it is "Auto" have you tried to set manually to your preferred resolution? It is set to 'Auto'. I will try manually setting it to my display type and see if that has an effect. |
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Post by leonski on Feb 10, 2023 0:37:03 GMT -5
I get where you're coming from and mostly agree. But to get a LOT of power....especially doubling into 4ohm would require a PS that 2 people would need to move. I would LOVE to see a 2- piece RECEIVER. #1? 40lb of PS or more. 1200va Transformer, lots of capacitance and running at a fairly high voltage. #2. Switching and outputs. And all the knobs...... Well, the MR-1 is almost there, with a 1,000VA transformer. Not many knobs, though 😆 Here's an example of a multi-piece component. This is the EXTREME end of things...... I heard these at a show and after about 1/2 hour, they shut them down since the room was getting hot enough to cook roast beef....AC at the hotel was hopeless. www.passlabs.com/products/xs300/Pass makes this and a smaller one. 2 large PS and a pair of Driver stages....each with over 100 output devices. EACH Channel is two pieces totaling about 300lb......so you'll need not 'A' friend, but a team of guys to help move this stuff, than enough Pizza to choke an NFL team while doing setup.....and don't forget a dedicated circuit for each amp. they IDLE at 900 watts, which as it turns out, is ALL HEAT..... |
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Mine arrived late last night. Did the speaker and XPA-5 connections but didn't have a chance to run EMO-Q. Question for you all because I honestly don't know: Can a 7.2.2 configuration have either Front or Rear Height channels or is a 7.2.2 configuration only referring to 7 bed channels, 2 subwoofers, and 2 Front height channels only? Can those height channels be rear height channels?
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